Can Cannot Also Can

7 04 2011

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”.

"Give Peace A Chance Redux", 2006

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!


Zai, Reef, Wen and Hafiz in the studio

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.
Reef bass
Hafiz Bastard drums

Performance by Lee Wen (solo) 7:30pm
Acoustic (solo) 8.00pm
Interval 8:20pm to 8:30pm
Electric Set
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.




“R.I.T.E.S.” – Rooted In The Ephemeral Speak #01-2011

12 01 2011

Date: 15th January 2011
Time: 8 pm till late
Venue: The Substation, Theatre
Address: 45 Armenian Street, Singapore 179936

The presenting artists:

1. Melati Suryodamo [Germany/Indonesia]
2. Kai Lam [SG]
3. Lee Wen [SG]
4. Seelan Palay [SG]

**Due to complications with Seelan Palay’s proposed performance, we have to apologize that our program will go on as planned without him. We continue to look into possibilities of presenting Seelan Palay in future.

Melati Suryodarmo

1. Melati Suryodarmo
Melati Suryodarmo’s performances have been dealing with the relationship between a human body, a culture in which it belongs to and a constellation where it lives. Through the presence, she compiles, extracts, conceptualized and translates some phenomenonor subjects into movement, actions, and gestures that are specified to her performance. Melati Suryodarmo´s performances concern with cultural, social and political aspects, in which she articulates through her psychological and physical body. Her performances feature elements of physical presence and visual art to talk about identity, energy, politics and relationships between the body and the environments surrounding it. Since the last four years, Suryodarmo has been presenting her works in Indonesia and other South East Asian countries. For the Padepokan Lemah Putih Solo Indonesia, she has been organizing an annual Performance Art Laboratory Project and “undisclosed territory” performance art event in Solo Indonesia.

Proposed Performance:
Feathers falls from the moon
“Feathers fall from the moon” is a poetical action inspired by the memory of silence moments when the body stays static and the mind was receiving information from surroundings. This kind of moment as a very deciding moment to me, as I often forgot or ignored them. I refer to the culture which I was culturally conditioned to keep silence has challenged me to question what would a nation be if the younger generation were told keep be silence.
Duration: 20 minutes


Kai Lam

2. Kai Lam
Kai Lam (born in Singapore, 1974) produces sound works that comes from a visual art background.His sound projects are intricately linked to his visual installations and art performances. The artist’s exploration with sounds are often produced from everyday objects, field recordings, circuit-bent radio and intercom machines that are mixed live and layered using loopers and effect gadgets. His recent sound concerts with ‘broken’ radios are described as a ‘cognizant whimsical audio experience’. Website:

Proposed performance:

Score for Urban Living No.1.
Duration: 30 minutes
Technical requirements: Sound.
This work is based on the artist’s long standing experiment with the medium of sound, becoming an entire discipline that is an extension of his visual art background. In this performance, the artist explores rewired sound-producing consumer products, which are sampled ‘live’ as an audio experience to metaphor the artist’s state-of-living in the present millennia era.

This present creation process of this series of circuit-bended machines signify the environmentalist position of the artist, and brings about an awareness to the recycling culture in an urban setting. The message here is to end consumerist tendencies in creating wastage from the already depleted natural resources and stop industrial pollution in this world. As more societies’ economies become more consumer-driven, hegemonic materialism has become an intricate part of urban life. This contradiction is then re-moulded into ‘images’ of sophisticated ‘global’ trends of living by a colluded networks of international mass-media aimed at consumer markets. Despite the prolonged ebbing of nature through centuries of mass human consumption, it gives rise to the artist to re-connect with the natural environments, and be aware of the benefits of daily energy-saving and nature conservation of the world.

The artist explores sounds through his interest in circuit bending with found electronic sound-making daily objects (consumer products) like alarm clocks and intercom units. The uncovered machines are taken apart, tested and re-soldered to transform low electrical current into sound signals from the circuit board, with a variety of volume pots and multi-switches, one can control and play the emitting sounds from these sound machines. The sounds are then layered over with radio broadcasts (radio wave frequencies), digital signal emissions and at times the artist’s voice, and selected musical instruments to produce an eclectic textured ‘live’ sounds and spontaneous rhythmic exercises.


Lee Wen

3. Lee Wen
Lee Wen has been exploring different strategies of time-based and performance art since 1989. His work has been strongly motivated by social investigations as well as inner psychological directions using art to interrogate stereotypical perceptions of culture and society. He is a contributing factor in The Artists Village alternative in Singapore and had been participating in Black Market international performance collective. He is coorganizer of “Future of Imagination” (2003), an international performance art event and “R.I.T.E.S.- Rooted In The Ephemeral Speak” (2009), a platform to support and develop performance art practices, discourse, infrastructure and audiences in Singapore.

Proposed performance:

“Anyhow Blues Project”
Does folk songs belong in performance art?
“Anyhow Blues Project” is a follow-up to my earlier “Too Late The Hippie” started in 2007 after seeing the tourism board promotional slogan claiming we are ‘Uniquely Hip Singapore’. At the same time the changing cultural climate of accepting what once were seen as deviant practices into mainstream culture, such as conceptual art and performance art requires a review of artists claims to resistance, alternative criticality and radicalism. Stereotypical misconstrued ideas of individuality, freedom and community based on these recent shifts hampers our continued quest for towards true humanity unless we are willing to confront them with openness.
During the 1960s there was a new consciousness of rejecting formerly accepted social norms that had become rigid and restrictive. At the same time there was a call to return to a wider embrace of traditional cultures beyond the usual established status quo. Experimentation with non mainstream cultural norms such as fusion of western and eastern ideas and cultures gave a new impetus, a renaissance of unexpected dimensions exemplified especially in the flourishing of new popular music as well as ‘hip’ as a attitude of rebelling into style.

In Singapore there had been both a strong rejection as well as acceptance. The complications brought about by the anti-war movement mostly spearheaded by protest songs and music was seen as a possible threat to mainstream social fabric by an attractive ensuing subculture amongst the youth. Hence the implementation of stringent laws such as death penalty for drug traffickers, anti-long hair campaigns, banning of pop songs with psychedelic contents and immigration controls of banning any ‘hippie’ looking tourists coming in at the airport or causeway. Yet commercial enterprises took advantage of its popular fashion trends, selling its ‘hip’ as in colorful and fun image. The “Anyhow Blues Project” 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’.


Seelan Palay

4. Seelan Palay
Since 2005, Seelan Palay has been working in the mediums of painting, drawing, collage and video to realize and relate his position as an artist and activist in Singapore. As a active member of both communities, he places an equal scale of importance to his engagement in the two intertwined processes. Though living in a highly globalized world, he believes in first addressing, exploring and portraying his immediate and local experiences.

Proposed Performance:
Choices, Chances
Our lives are often determined by the choices and chances that we encounter. These may be made and given to us rather than decided by ourselves. They may be fortunate ones but at times leading to misfortune or worse if we are not careful. My work will involve making some actions of daily life experiences to explore the dilemma of the various possibilities of Chances and Choices that we encounter and the decisions e make that determine our fate in this human condition.

R.I.T.E.S #6

23 07 2010


1. Jacklyn Soo
2. Roan Lizhen
3. Kelvin Atmadibrata
4. Zhuang Yusa

Friday 23 July 2010, 7.30 pm

 Brother Joseph McNally Gallery,

Institute of Contemporary Arts Singapore,
1 McNally Street, Singapore 187940
Tel (65) 6496 5070

Supported by:

National Arts Council
The Artists Village

Jackyln Soo

Jacklyn Soo sees infinite possibilities of engagement and challenge in art.The various paths lead to the development and understanding of its diverse forms and wide-ranging subjects that art undertakes. Jacklyn Soo is currently working on the theme of commodities; exploiting studies of orders, systems, societies, imagination of the self and the existence of the human psyche. With this in mind, her works have manipulated itself into works of performance art, sculpture, drawings, photography, installation and more recently, audio- visual mediums.

Roan Lizhen

Roan Lizhen is a multi-disciplinary artist whose unique performative works in the form of drawing, painting, objects, video, photography and installation when she was in London. Graduating from Goldsmiths College, London she is increasingly producing performance art pieces in Singapore. Roan Lizhen teaches art and sees herself as an undercover hippie on a journey of self-discovery.

Kelvin Atmadibrata

Kelvin Atmadibrata born 1988 in Indonesia. He is currently pursuing BFA majoring in Interactive Media at NTU School of Art, Design and Media. His art practice includes installation, performance and mixed media works. His current works explore the comparison between adults and children, relating to his personal family background and the Indonesian Chinese popular culture. Kelvin has been practicing art since 2006 and participated in various group shows including the recent Imprints exhibition at red dot museum, organized by National Heritage Board and curated by Singapore Contemporary Young Artists.

Zhuang Yusa lives in Singapore. His poetry has been published in Asia Writes, Sargasso (Puerto Rico), ditch, (Canada), The Toronto Quarterly, Ganymede, The Los Angeles Review, Softblow, nth position and elsewhere. He is a founding editor of Walnut Literary Review ( He blogs at


18 07 2010

Performance Art in Singapore’s art history has spanned more than 20 years, since Tan Teng Kee’s “Lonely Road” a happening in 1979 as described by T.K. Sabapathy. Starting from the late 1980s, visual artists, from The Artists Village group, like Tang Dawu, Vincent Leow, Zai Kuning and Amanda Heng, have been presenting significant performance works in numerous exhibitions in Singapore and international events. In recent years, since 2003, local performance artists like Lee Wen, Kai Lam and Jason Lim has successfully and consistently organised “Future of imagination”, an annual international performance event that platforms local and international artists.

Despite, performance and time-based events occurring sporadically in Singapore, there is still a lack of substantial discourse, in practical and academia terms. There is a need to integrate performance art or live art form into the social structure and fabric more consistently. As the variable individual lifestyles that grow out of an urban society is constantly shifting, transforming at an increasingly erratic pace of change with its very own un-dreamed of social evolution.


Rites” as in traditional customs, social conduct is synonymous to a way of life; informing our everyday attitude towards practices, protocol, rituals, routines, decorum, etiquette, good form that is in need of review, re-examination and reiteration.

Rites” is a cross-disciplinary platform that presents time-based performances; electro-acoustics sound improvisations, experimental music, performative art projects, artists’ talks and workshops and discussions on performance-related activities. Its objectives are to present an eclectic mix of performances that is informed by visual aesthetics, technological integration and conceptual integrity involving art making and the social and cultural contexts that are related to performances. It explores art activities that are spatial, the way in which performance is linked to cultural, ethnic and geographical elements in identity, and at the same time exploring how all these elements can be bound and related to the global, technological, cultural and economic shifts in our daily life.

Photo credits:
top: “SAM, SAM, but different”, Tang Da Wu, 10 April 2010
on the left is Mr. Tan Boon Hui, Director of Singapore Art Museum (SAM)
(photo by Nel Lim)
bottom: “Goose Man”, Tang Da Wu, 1989
Artists Village, Lorong Gambas, Sembawang, Singapore
(photo by Koh Nguang How)


15 07 2010

From “Future of Imagination” to “R.I.T.E.S.”

We hope to make “R.I.T.E.S.” a regular monthly event.

With that as our foremost agenda of priorities amongst a list of other fundamental concerns identified as important, but alas yet unachievable, within the limited resources it is not out of pessimism that for now what is possible is to at least make this regular occurrence happen. We went in headlong into an attempt to make performance art a regular feature in our evolving cultural landscape in our beloved land of Singapore, an island city-state considered by some to be of utopian possibilities and yet for others the ultimate panopticon where all corners of life is regulated and cultural work is not easily motivated by individualistic directions, more likely to be meticulously and firmly engineered for the sake of order and harmony of society at large.

Can we be blamed for resonating with one euphemism after another, or perhaps strutting out naïvely, with anachronistic, exaggerated idealism? Depending on one’s perception on the troubled cultural exercise or practice such as performance art within the current context of contemporary art which is in the likely tendency to be descending into fun and games along the way usually flaunted in spectacles for mass public consumption, as the paymasters have to justify the release of public funding for a more tangible, visible and desirable return.

In 2003 we decided to take up the challenge of picking up the pieces when arts funding for performance art resumed after 10 years of deprivation. In naming the international performance art event as the “Future of Imagination”, we expressed mixed feelings of joyful relief that the closed doors of bureaucracy were offering us much needed support. At the same time there remains an uncomfortable suspicion that we were enticed into becoming pawns for the stately kingdom of cultural propaganda, as support and sponsorship will always remain offered only within the boundaries of regulations and censure.

Despite it being subject to the various problematical statuses of mistaken notions, uneven discourses and presumptuous deductions, we have managed to organize and hold the “Future of Imagination” international performance art event altogether six times in seven years. It is with a conscious effort to respond to the discrepancies of the formulated format of a 4 or 5 days international festival which has increasingly proliferated around the region that we have decided that FOI be put on the shelf while we try something else in order to confront the limitations of presenting performance art in the festival format.

Not that R.I.T.E.S. is going to address all the issues but there is a desire to do something about the complacency and directionless of contemporary culture. Artists do not only participate as cultural producers in order to satisfy the customers of pleasurable entertainments and consumers of satisfying creature comforts and desires, but to also actively petition or beg for more mindful participation by those around us who care about asking where humanity is going and not just following the trends dictated by the tyranny of status quo.

Besides the intention of R.I.T.E.S. to facilitate performance art becoming a regular feature in our cultural landscape by way of live presentations, we have also identified the need to create a discursive and intellectually stimulated environment by way of talks, workshops to create the propensity to encourage reflection and educated assessments of the works seen. Documentation is a recurring concern if not an obsession amongst performance artists however it is dispersed amongst individual artists and ad hoc art groups for their own personal use. The establishment of a collective resource archival center assessable to the public for research is badly needed. A serious survey of performance art in Singapore and the region is long overdue, as the pace of change has been accelerated that it would be most advantageous for artists and audiences to look back over the years in order to further embark with current and future work.

Although we have set out with various possible action plans we must admit that our resources have not been sufficient enough to afford going beyond that of presentations on a monthly basis as the constant negotiation for a venue and making applications for the license to perform in public takes time. Hence it is fortunate that we have found an enlightened institution with parallel concerns and made tentative agreement to go into partnership with the Institute of Contemporary Arts Singapore (ICAS). For a start this helps to alleviate the need to look for a venue each month and free us from the licensing process at the same time. We are hopeful that in time to come ICAS will be helping us to fulfill the other objectives and reap the mutual benefits of enhancing our cultural scenario. We look forward towards working with making real our imagined dreams, and with concerted efforts realize together that which is rooted in the ephemeral may still speak of truths worthy of keep.

R.I.T.E.S #5

26 06 2010

1. Andree Weschler [SG]

2. Justin Lee [SG]

3. Mideo M Cruz [PH]

4. Natasha Wei [SG]

Date: 26th June 2010
Time: 7:30 pm to late
Venue: Post-Museum, Showroom
107+109 Rowell Road S209033.

supported by:
National Arts Council
The Artists Village

Artists’ Biography:

Andrée Weschler

Andrée Weschler

Andrée Weschler‘s artistic endeavours focus on using the physical body to explore the boundaries of acceptable social constructs. The performing body is used as a tool for discovery, often becoming material in itself. Her work also attempts to challenge the audience into reading her performance of bodily difference. Born in France, she has been living and practicing her art in Asia for more than 15 years. Her formative visual arts training were in Singapore, Australia and Les Beaux Arts de Paris, France. Since 2000, she has been invited to participate in international art events in Singapore, Thailand, Malaysia, Japan, China, Korea, Australia, Finland, Hong Kong, Argentina, Chile and United Kingdom. Her art practice encompasses Drawings, Video Art, Photography, Performance Art and Installation

Mideo M. Cruz

Mideo M. Cruz “….is a facile generator of anxiety and debate andis skilled in the production of excitingly intellectual images andforms within the unorthodox as seen in his art practice teeming withimitable social and political commentary.” – Philip Paraan
Mideo is based in Manila and currently having a solo painting exhibition in Utterly Art Gallery. For RITES he will be presenting a live interactive piece “Terra Incognita”. “Terra Incognita” will be a simulation of the early expansionism exploring cultural connection and losing identities in the age of late capital. His exemplary works enabled him to be awarded the 2003 Cultural Center of the Philippines thirteen artists award and the 2006 Ateneo Art Awards.

Justin Lee

Justin Lee
Justin Lee has been actively and widely exhibiting since 1996 making
an impact with his pop art imageries. His prolific and witty
paintings and sculptures offer a unique understanding of contemporary
Singapore society and lifestyle with a blend of cultures from the
east and west. Justin also seeks to record everyday lifestyle into
visual art based on his cultural background and surrounded by
doubting questions appearances. He believes that art can play an
important part in helping people to grow and generate a heighten
awareness. His current works reflect on how text influences and
controls the users in our daily lifestyle. His works also reflect on
words and images from the mass media like signage, billboards and
consumer products, which control our thoughts and expression.

Sophia Natasha

Sophia Natasha Wei
Sophia Natasha Wei is a practicing artist who engages mainly in three-
dimensional works. She is currently an art teacher in Pioneer Junior
College, after graduating from LASALLE-SIA College of the Arts with a
diploma in Jewelry and Metalsmithing in 2004. Natasha is versatile in
various forms of art making, including jewelry making, mixed media
installations, drama and performance art. Her performances often
address the human condition of beliefs and customs. Natasha has also
begun travelling to various places to perform and observe performance
festivals. As an active member in the Artists Village which serves as
a platform for her collaborations and involvements in the local art
scene, she is convicted in playing the role to create art that
penetrates the heart of the community, engage the public in her art-
making and merge the visual language of her own practice in her art
teaching career.

R.I.T.E.S #1

12 08 2009


12th August 2009
7 pm, Wednesday (first instalment)
Presenting: Danny Devos, Chia Chu Yia, Marienne Yang, Yuzuru Maeda
Venue: Old School
The Hall
11B Mount Sophia
Singapore 228466
website –

Danny Devos was born in Vilvoorde (Belgium) and lives in Antwerp, Belgium. Since 1979 he has done a huge number of hard-core performances and noise-music concerts. He was also founder of the first visual artist’s union in Belgium. His work is visible live only but often accessible via the internet and by random leaflets left behind on various occasions. His latest project “Diggin’ for Gordon” is a tribute to the American artist Gordon Matta-Clark. At an unknown location, DDV is digging a hole for over two years now. The progress of the performance can only be seen through a webcam.

Marienne Yang
Marienne Yang was born in 1983, Singapore. In 2009, she graduated with a MA in Contemporary Practice from the University of Huddersfield, and in 2004, she graduated with a B.FA and a Dean’s Roll of Excellence from the School of Fine Arts of The University of Tasmania, Australia. Despite having majored in Electronic Art and Art and Design Theory, Yang’s early works were mainly photographs, traditional and digital prints and the occasional video. From the spring of 2004 to the summer of 2005, she resided in Studio Village, Queensland, working on a series of small relief prints in the confines of a kitchen. Moving back to Singapore, she pursued her other passion – as an art teacher at local secondary schools for the following two years. Between 2005 and 2006, she organised two art projects as a member of The Artists Village (TAV), and participated in various other exhibitions.

Chia Chu Yia

Chuyia Chia is a multi-disciplinary artist, obtained her diploma in NAFA, and BA withdistinction from Curtin University of Technology, Western Australia. Her major was painting, but her exploration and curiosity directs her from painting to installation art and performance art. Her endeavor has earned her some awards and residencies opportunity in overseas. She was surrounded by the idea of structuring her identity from the changes of different environments, also concerning about senses of direction, placement and reviews. She uses body and mirror as a metaphor in search for discovery and possibility in her reflectivity selfstructure. Her performance art focus on various current crisis issues. Her involvement was in Fetter Field and Maju Jaya in 2007, UP-ON Chengdu International live art festival, Vital 6 International festival in Chongqing, The 6th Dadao Live art festival in Beijing and The Future of Imagination 5 in Singapore, The 10th Asiatopia in Bangkok in 2008, Infr’action Paris 2009, Live-action Gothenburg 2009 and Momentum #4 in Belgium in 2009.

Yuzuru Maeda was born in Ogaki, Japan in 1978 is active as a singer, performer and composer. Her music includes jazz, Hindustani classical, Carnatic, Hindi film songs, Japanese music and experimental music. She is also a classical violinist and an Arabic percussionist. She has explored different types of musical genre through her research travels in Africa, Europe, North America, India and Asia between 1999 to 2007. She has especially studied 1960’s and 1970’s rock records and its culture from the original generations. Her contact with experimental music led her to research in Zimbabwe’s Mbira music and Carnatic music from South India. Her musical lineage cross-references La Monte Young and Ustad Ali Akbar Khan. She explores in cross cultural music that is creatively experimental and expressive musically attempting to go beyond time and space. She has performed live electro-acoustics sets in Choppa events, Singapore (2007); Black Market, Singapore (2009) and recently participated in Guang, Music of New Millenium, an international composers’ symposium in Bali, Indonesia (2009).

Photo: “Video Conference: Solo 1.0” , Yuzuru Maeda in collaboration with Urich Lau

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