疏忽／排除
Oversight Preclusion

Description

由於無法觀看陳彬彬的電影《星國戀》，也無法在新加坡以外的展覽上放映，因此，一些由看過的人所寫的匿名的書面描述被蒐集了起來。這個項目設計了一個框架，要求攥稿人貢獻70分鐘與電影放映等長的時間，按照時間順序線性地將電影情節敘述一遍，一並附上他們對電影的個人想法。作為對勞動付出以及文本交換的回報/酬勞，創作者報銷了攥稿人所報的看這部電影支付的票價。這樣就構成了一個雙重鏡像，紀錄片中流亡者的回憶與發聲，和觀眾們的一起，被傳送、過濾、轉換成了文本和印刷品，跨過了被認為是無效的圖像的邊界。

2014年9月，該影片被禁止在新加坡公開放映(被媒體發展管理局歸類為「任何分級皆不允許」)，理由是「安全單位合法保護國家安全穩定的行為，被電影扭曲成迫害無辜的個
人，這樣的做法是傷害國家安全的。」

Having been unable to see TAN Pin Pin’s film To Singapore, With Love nor to screen it in the context of an exhibition outside of Singapore, anonymous written accounts were sought and collected from people who have. This was facilitated through a framework asking contributors for 70 minutes of their time (the duration of the film) to recount the film in a chronologically linear manner, and also to provide personal thoughts about it. Taken as labour performed, payment was offered in exchange for this text, reimbursing the ticket price that contributors had themselves paid to see the film. A double mirroring occurs, memories and the voices of both the exiles in the documentary film and its viewer are transmitted, filtered, into text and print, across the border of the presumably invalidated image.

In September 2014, the film was banned from public screening in Singapore (classified by the Media Development Authority as ‘Not Allowed for All Ratings’) on the grounds of “undermin[ing] national security because legitimate actions of the security agencies to protect the national security and stability of Singapore are presented in a distorted way as acts that victimised innocent individuals.”

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戈德溫·柯伊是一名藝術家和藝術工作者，居住在馬來半島的新加坡。 他們的藝術探索以新加坡民族國家的霸權政治、社會、物質和審美範式為出發點。作為城市、花園、舞台、博覽會和堡壘，同時也是實驗室和模範的這座島嶼，被當做一處用以審問全球興起的新保守主義潮流的場所。 這項研究針對棲息於與治國和家世有關的各媒體空間內的文字與視覺材料，並以數碼、顏料和印刷方式來處理加工並展出。工作的核心是進行推測性的想象，提出或預期某種可能性——與標準規範及暴力圈地不充分決裂的可能，表現出開放式的挑釁，或更加離題的、說教式的審美干預。

自2018年以來，他們一直與s/W/s的同伴們共同組織空間和活動，關注點擴展至維護、照顧、出版和集體性。

Godwin KOAY is an artist and art worker based in Singapore on the Malay Peninsula. Their artistic inquiry takes the hegemonic political, social, material, and aesthetic paradigms of the Singaporean nation-state as its departure point. The island as city, garden, stage, expo, and fortress, at once laboratory and model, is treated as a site for interrogating globally emergent neo-reactionary currents. This research centres on textual and visual material that inhabit various media spaces pertaining to statecraft and extraction, and are output through digital, pigment, and print processes when presented. Central to the work are speculative visions that propose or anticipate the possibilities of destituent rupture from normative and violent enclosures, appearing as open-ended provocations or other more discursive and didactic forms of aesthetic intervention.

Since 2018, they have been co-organising space and activities with the folks of soft/WALL/studs, extending concerns in maintenance, care, publishing, and collectivity.