Oversight Preclusion


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150 x 197 mm,36頁/pages
雙色空孔版油印  2-colour risograph
騎馬釘裝  saddle-stitched

語言 LANGUAGE  //  英文   English
出版社 PUBLISHER  //  wares infoshop library (新加坡 Singapore)
出版日期 PUBLICATION DATE  //  2018年

限量200本  /  Edition of 200




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。
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.


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Oversight Preclusion”

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