Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore. Inspired by the women of Riau, Back to Mother seemingly traces the central role of maternal figures in nourishing of Riau’s history as an early archipelago kingdom that was Hindu, Buddhist, and animist prior to 14th-century Muslim invasion. Organic materials such as beeswax form a layer of balm protecting threads of red paint symbolic bloodlines in a turtle-formed mandala—a primordial womb that recalls the Hindu and animistic origin of Singaporean society.
Zai Kuning is one of Singapore’s leading avant-garde practitioners. He refuses to categorize his work, and his output crosses multiple disciplines including painting, drawing, sculpture, installation, film and video, experimental sound, and performance. His practice often examines the concept of the “tortured body,” and many of his pieces explore the relationship between somatic experiences and language. He founded the Metabolic Theater Laboratory (MTL) in 1996 to examine the relationship between physical movements and language in Southeast Asian rituals. After disbanding the MTL in 2001, he returned to individually defined practices such as solo performance, writing, sound, and research. His most recent work responds to histories of indigenous people in Singapore and Indonesia including the Orang Laut and Dapunta Hyang Jayenasa.
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Glaze (Savana) (2005) is an assemblage of found materials: a car wheel, a tire, and a wooden plinth of the type traditionally used to display sculpture...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
Natasha Wheat’s Kerosene Triptych (2011) is composed of three images, one each from the digital files of the Library of Congress, the Smithsonian Institution, and the Field Museum tropical research archive...