Re/call/Re/form/Re/master catalogue

Silverlens, Singapore 12 September - 12 October 2014

Bani Haykal / Nipan OranniwesnaPrilla Tania / Vanessa Ban / Vincent Leong

curated by Jason Wee

This exhibition occasions my thinking through acts of creative reuse

and modes of material transfer within artistic practices; to the point, how

shifts in the materiality of information and pleasure could constitute a

deliberately nave analogue to transformations in social materialities.

Three processes are in focus: the syneasthetic recollection of one

sensation (sound) that is provoked by an experience of a different

sensation (sight); the transformation of found material into new

physical form; and the transfer of ideas and information from one

material substrate to another. These reshapings of materiality are

analogous to the conturbations that we witness in contemporary

practices, producing a frisson of unexpected intensity, an intensity

that can be re-described in terms of potency or sonority. What these

conurbations are exactly, as I hope to evidence in this short text, isnt

gestured at in para-texts outside the work - in captions, marginalia,

artist statements, and press release but substantially taken up in

the shaping of materiality. In keeping with these processes, I suggest

that this writing proceeds as yet one more transcription, discussing

the works in writing as they would appear to a viewer circling

through the exhibition space.

The transcription of the sounds of love unfolding, for Vanessa Ban,

takes place over a weekend next to the open water. Her score

Observation of Sound (Visualizing Silence) (2014) is an act of music-

making as well as time-keeping, simultaneously suggesting the

possibility of re-creating a sonic memory as well as its increasing

distance between the present and that past. The experience of

love as Vanessa scores it has both microtonalities and larger,

synchronous harmonics, even in a score of ostensible silence. Love,

it seems, resounds in waves.

The five smaller sketches are drawn from notational explorations

in Vanessas sketchbook, each an attempt to transcribe a sound-

making spatial object into a drawing that recalls its original spatiality,

each object a locational coordinate that specifies a moment in

time and a place, and equally recalls that objects musicality. In

synesthesia, the affects of a private love affair become analogous to

the sonorities of space, to the varying speeds of the ceiling fan, or to

the irregular luminosity of the stars. Together, Vanessas notational forms

and score are deliberately unorthodox as musical transcription, making

its formal queerness apropos to the intimacies it notates.

Bani Haykals instruments nakedly display the rudiments of their

constructions, so that the modes of sound-making is evident.

The changes in the speed of moving air one basic definition for

the creation of sound is here acknowledged in one form (wind)

but transformed into another, a processed lived recording meant

to suggest the squeak of crickets. A sound that was deceptively

successful, at least on the first days of the exhibition, when viewers,

puzzled by its lack of aural output, frequently mistook the crickets

as a source of white noise from the green grounds of the barracks

outside the gallery.

Bani balances his source a table fan - on a stack of four books

on politics, diplomacy and the nation-state. When seen alongside

his second work The Americans have colonised our subconscious

(2014), Banis reveal of the mechanisms of sound-making exposes

more than technological workings; on two wooden boards painted

red and white, sits the circuitry through which the current of our

nationalist articulation runs. While we recognize Banis use of

electrified strings, the improvisational quality of his wall instrument

by Jason Wee

RE/CALL/RE/FORM/RE/MASTER

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pushes any attempt at sound-making towards dissonance and noise.

Taken ironically, the titular statement belies the real question - who

else occupies our subconscious impulses, given that the sounds we

make on Banis instruments, dissonant or otherwise, are strummed

by our own hands?

Five pills in transparent capsules each contain a fine glittering

dust, and a small star with surprising heft in the hand. The dust in

Nipans capsules are medicinal only in the sense that arsenic is; they

are a mix of Thai and Singapore coins grounded down by Nipan

Oranniwesna to dust. They are poison pills of national economy.

The metallic star is a similar alloy of two metals; this time Nipan

melted the coins into a mold that forms an impure sixth star

to the existing five in the Singapore flag, an intrusive, electric

symbolic addition that now conducts inquiries into the partitions

at the center of national identity-making.

The lyrics of VichitVathakan (2014) are drawn from a song

composed in 1938 by Luang Wichitwathakarn, an early promulgator

of a form of Thai nationalism shaped in part through its arts and

culture. Part of a history play Maha Thewi, the song exhorts

its listeners to protect the kingdom like a fence around a house.

The metaphor of domestic protection has strong nationalist

overtones, with exhortations to fight, to display courage and to

never surrender to the enemies taking over the kingdom. The

song as rendered by Nipan is literally wooden, mute to emotion-

rousing melody, the fragile cellulose from which nationalism

burns. In the wake of the May 22, 2014 coup, the lyrics to the

Thin Thai Song develop pressing exigencies.

Prillas short video Larung (2013) on the ecological costs of our

everyday habits is themselves ecological; the figures are made with

paper cutouts from recycled cardboard. The films themselves are

meant to be diminutive, preferably seen through a pinhole, with

a modest footprint on the wall, so to speak. The images too are

recycled in her own fashion, her cutouts functioning as wall-mounted

paper sculptures as well as puppets in a shadow puppet installation.

The remastering in Larung of shadow theatre as video is one more

transmutation in her recycling aesthetic. Her ongoing works from

the past two years suggest that every iteration in our material

transformations of things from raw materials to processed goods and

utilities to consumer products and back carry with them significant

and invisible externalities, to our environment and our society.

Vincent Leongs Plugobot and Socketron robots (both 2008) are witty

constructions using a nerdy logic familiar to LEGO and Transformers

aficionados. They are readymades as adaptive technology, sockets

that enjoin maladaptive parts into a larger machine. But the evaluation

of adaptation is no longer made in strictly functional terms, or seen

another way, these robots are barely functional. These are machines

pushing their use-value to its childlike, useless edge. They resemble

toys but are challenging to play with, they are tabletop lamps on the verge

of falling apart, they contain nightlights, doorbells and timers but the sum

of their parts (and lumens) deny each of these components any ease or

possibility of use. How useful really is a glaringly bright nightlight?

The playful paradox in these robots, and in some of the other works

in the exhibition, is that the more their use value diminishes, the

more apparent is the labour production that went into it. A relation is

drawn from one form of materiality to another by labour, in a way that

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doesnt dissolve use and value more than it transmutes them for

alternative valuations. In Nipans case, for example, the monetary

conversion devalues its original currencies to generate instead a

poisonous symbolic value.

When examined under these considerations of motive

transformations, the materiality of any given medium and our

aesthetic considerations of it - in terms of dimension, proportion,

totality, viscosity, gravity, assembly, speed are released from any

final state of givenness. That is to say that they are never locked

into a end-state of it is what it is, when the potential remains

for materiality and our aesthetic categories to be reshaped into

something other than their present.

Cumulatively, these reshapings form what is for me a crucially

nave analogy for the incipiency of transformative change in other

materialities. The navety spills out in two ways, the first being its

insufficiency. Yes, materiality may not reach a final immutability,

what then? I suggest it is in the second sense of navety as the initial

and the intuitive that the analogy works when we consider change

in social and political materialities. It is to hold out as a first and

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nave premise that transformation, reformation, even revolution, is

possible when remaking these materialities. This navety also allows

us to consider the changes in social materialities apart from our

rational actions. Taking a leave from Schillers characterization of

the nave in poetry as a moving conviction, we could then see how

transformation and change happens also with those who know not

what they do.

I do not think of this nave analogy as foundational thought as

much as it is extensive, capable of stretching out from the familiar

into far-off, useful directions . Heres one possible extension: that this

naivety allows us to acknowledge a debt to existing things, in other

words, our debt to the readymade. Not to insist on the publicity

and reifying power art possesses and brings to even the most

commonplace of objects, but to the privation of the readymade,

to the readymade apart from the force of art, to its already-existing

readiness to be something else. We are familiar with the readymade

as an art-specific category, as a urinal, or as a soup can, or as a shiny

balloon. But the analogy works as well for other existing materialities.

What then do we acknowledge the audience that is ready to be

something else, the public, the polity?

I must acknowledge here the work on analogies by the philosopher of science Douglas Hofstadter and psychologist Emmanuel Sander, and their joint volume Surfaces and Essences (New York:Basic Books, 2013).

Plugobot and Socketron, Vincent Leong

Installation view at Silverlens, SingaporePhoto: Silverlens Galleries

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Vichitvathakan, Nipan Oranniwesna; Larung, Prilla Tania


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Untitled (capsule) and Monument in progress, Nipan Oranniwesna


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Observation of Sound (Visualizing Silence) and Observation of Sound (Sound Observation, Vanessa Ban; The National Conversation and The Americans have colonised our subconscious, Bani Haykal; Untitled (capsule) and Monument in progress, Nipan Oranniwesna


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Plugobot and Socketron, Vincent Leong, Vichitvathakan, Nipan Oranniwesna; Larung, Prilla Tania, Untitled (capsule) and Monument in progress, Nipan Oranniwesna; The National Conversation and The Americans have colonised our subconscious, Bani Haykal; Observation of Sound (Visualizing Silence) and Observation of Sound (Sound Observation), Vanessa Ban

Installation view at Silverlens, SingaporeVideo: Silverlens Galleries

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The Americans have colonised our subconscious, Bani Haykal

Installation view at Silverlens, SingaporeVideo: Silverlens Galleries

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Gallery Event

Bani Haykal Performance09 October 2014

watch full performance here

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The Americans have colonised our subconsciousenamel paint, electric guitar & bass pickups, machine heads, bridge, instrument strings on wooden planks47.24 x 15.35 x 0.79 in 120cm x 39cm x 2cm (each)2014

The National Conversationelectric fan, microphone, speaker, mixer, amplifier and used booksvariable Dimension2014

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BANI HAYKAL

detail

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Vichitvathakancarved wooden textvariable dimension2014

NIPAN ORANNIWESNA

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Monument in progressmelted Thai and Singapore coins2.16 x 0.59 in 5.5 x 1.5 cm2013

NIPAN ORANNIWESNA

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Untitled (capsule)Thai and Singapore coin dust in capsulevariable dimensions2014

NIPAN ORANNIWESNA

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PRILLA TANIA

LarungVideo2 minutes 11 seconds2013 Edition 2 of 6

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PRILLA TANIA

Larung, Prilla Tania


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Observation of Sound (Visualizing Silence)digital print on recycled paper11.81 x 35.43 in 30 x 90 cm2014editions of 3

VANESSA BAN

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Observation of Sound (Sound Observation I)digital print on acid free paper13.89 x 9.84 in 35.3 x 25 cm2014editions of 5

VANESSA BAN

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Observation of Sound (Sound Observation II and III)digital print on acid free paper13.89 x 9.84 in 35.3 x 25 cm each2014editions of 5

VANESSA BAN

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VANESSA BAN

Observation of Sound (Sound Observation IV and V)digital print on acid free paper13.89 x 9.84 in 35.3 x 25 cm each2014editions of 5

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Plugobotmultisockets, nightlight, wireless doorbell receiver, fluorescent lightbulbs, electric timer, electric socket, electric wire15.75 x 13.39 x 9.45 in 40 x 34 x 24 cm2008

VINCENT LEONG

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Socketronmultisockets, nightlights, UV lightbulbs, electric mosquito repellent, electric socket, electric wire11.22 x 21.06 x 12.20 in 28.5 x 53.5 x 31 cm2008

VINCENT LEONG

Bani Haykal (b. 1985, Singapore) experiments with text + music.

His work stretches across various disciplines including installation, poetry and theatre, investigating cultural and

socio-political climates coupled with perceptional and behavioural affects. As a soloist, he works primarily with acoustic

instruments, both traditional and/or hacked, and his studies revolve around narratives, structured improvisation and

spoken word. He is also a member of b-quartet amongst other musical outfits. An Associate Artist with The Substation,

Haykal has collaborated, exhibited, performed and toured internationally, as an artist and a musician, participating in

festivals including Media/Art Kitchen (Indonesia, Malaysia, Philippines and Japan), da:ns Festival and The M1 Fringe

Festival (Singapore) among others.

SOLO SHOWS2013 Dormant Music, as part of The Art Incubator, Platform 3, Bandung, Indonesia

inside the subject, in collaboration with anGie seah and Mohamad Riduan, Institute of Contemporary Arts, Singapore

2012 Rethinking Music, The Substation Gallery, The Substation, Singapore

2011 Alternatives, The Substation Gallery, The Substation, Singapore

SELECTED GROUP SHOWS2014 Re/call/Re/form/Re/master, curated by Jason Wee, Silverlens, Singapore

Media/Art Kitchen-Politics of Humor and Play, Aomori Contemporary Arts Center, Japan

Media/Art Kitchen - Reality Distortion Field, Galeri Nasional Indonesia (Jakarta) / Art Row Publika (Kuala Lumpur), Ayala Museum (Manila)

SELECTED PERFORMANCES2014 The Cloud of Unknowing, in collaboration with Ho Tzu Nyen and Randolf Arriola, Singapore Art

Museum, Singapore

FEN Orchestra, with Otomo Yoshihide, Ryu Hankil, Yan Jun, Yuen Chee Wai, Sachiko M, dj sniff, Venzha Christ, Vu Nhat Tan, Yamaguchi Centre of Art and Media (YCAM), Yamaguchi, Japan

EARTH by Alexander Dovzhenko (Live Film Score), The O.P.E.N (Singapore International Festival of Arts), 7213, Singapore

Ten Thousand Tigers, in collaboration with Ho Tzu Nyen, The Esplanade, Singapore/ Halle G, Museums Quartier Wien, Austria

2013 3 Rituals, with ila + Syv Bruzeau, Centre for Contemporary Art, Gillman Barracks, Singapore

INCANTATIONS, The Observatory, Asian Tour (Philippines / Hong Kong / China / Korea / Japan)

CHOPPA Festival, with David Toop (UK), Brian OReilly (US) and Darren Moore (AUS), Artistry, Singapore

book #7, with OFFCUFF, Centre for Contemporary Art, Gillman Barracks, Singapore

Creative Destruction, in conjunction with Luminous Depths by Lee Mingwei, Peranakan Museum, Singapore

The Observatory + MOE, Italy Tour, Italy

collapse, The Substations Associate Artist Research Programme Presentation, The Substation, Singapore

post-homesickness / a brief expression, in collaboration with Bottlesmoker, Duto Hardono, Homogenic and Muhammad Akbar, Platform 3, Bandung, Indonesia

2012 Fixations, The Observatory, Norwegian Tour (Oslo / Bergen / Stavanger / Hamar / Kristiansand)

Kalle Laar (GER) + bani haykal live, Nanyang Polytechnic, Singapore

BANI HAYKAL

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Silences We Are Familiar With, in collaboration with T.H.E Dance Company, da:ns Festival, The Esplanade, Singapore

book#6, with OFFCUFF, as part of World Event Young Artists, Nottingham Trent University, Nottingham, England

instructions to build a collapsible universe minus the annoying people, with OFFCUFF, LitUp Festival, Telok Ayer Performing Arts Centre, Singapore

Enter The Headworm Hole, The Observatory, Goodman Arts Centre, Singapore

Crossings, in collaboration with The Necessary Stage (Singapore) and Trafik (Croatia), The Esplanade, Singapore

Bleeding Grace, in collaboration with Teater Ekamatra, The Esplanade, Singapore

The Cloud of Unknowing - Singapore Premier, in collaboration with Ho Tzu Nyen and Randolf Arriola, Gillman Barracks, Singapore

bani haykal + Heddy Boubaker (FR), La Maison Peinte, Toulouse, France

Le Labo Sonofage, Theatre Le Vent De Signes, Toulouse, France

UpInTheSkyFestival, Sinema Old School, Singapore

solo/sketches, with Nickolai D. Nickolov (IT), The Pigeonhole, Singapore

Visions of the East: Asia Through French Eyes Hara Kiri, with Leslie Low and Vivian Wang, National Museum of Singapore, Singapore

Q&A, as part of Sonic Visions by Song-Ming Ang, The Substation, Singapore

Playfreely, Goodman Arts Centre, Singapore

Mosaic Music Festival, with b-quartet, Opening act for Tortoise, The Esplanade, Singapore

2010 b-quartet + mux + OFFCUFF, Tribal Gathering of Tongue Tasters, The Substation, Singapore

Uncommon Fields (conformity has replaced consciousness), with b-quartet, The Esplanade, Singapore

2009 Cityscapes, Singapore Design Festival, Singapore

people without people, with mux, The Substation, Singapore

What Day Is It Today?, The Studios, The Esplanade, Singapore

The Unpressionist, The Substations Lab Presents Imprimatura, The Substation, Singapore

2008 He Is Not An Impostor, in collaboration with George Chua, The Esplanade SPARKS Programme, The Esplanade, Singapore

Tobogganing (tomorrow is our permanent address), with b-quartet, The Play Den @ Arts House, Singapore

2007 Feed The Poets (book launch), Singapore Writers Festival, The Playden @ The Arts House, Singapore

Forward Moves; Morpheus, in collaboration with diskodanny (Daniel K), Singapore Arts Festival, The Esplanade, Singapore

Esplanade, SingaporeThe Arts House, Singapore

AWARDS

2004 BT Goldsmiths prize in Digital Media, London

2004 Malaysian Video Award for Best Experimental Video: Amateur, Kuala Lumpur

EDUCATION2001 Graduated from Sculpture Studio, Faculty of Art and Design, Bandung Institute of Technology

24

Nipan Oranniwesnas (b. 1962, Thailand) artistic practice has spanned many years and forms of media. As a multi-media

artist, he cogitates on issues of globalisation and migration, offering keen insights into the landscape of our changing world

He lives and works in Bangkok, Thailand, where he is head of the Visual Arts Department in the School of Fine and Applied

Art at Bangkok University. His work has been exhibited widely throughout Thailand and internationally, at places such as the

Sydney Biennale, the Singapore Biennale, the Kuandu Biennale and the Seoul Museum of Art.

NIPAN ORANNIWESNA

SOLO SHOWS2012 Speechless, 100 Tonson Gallery, Bangkok, Thailand

2009 Being......at Home, Osage Gallery, Hong Kong

NIPAN ORANNIWESNA, Osage Gallery, Singapore

1997 Birthplace, Bangkok University Gallery, Bangkok, Thailand

1996 NIPAN ORANNIWESNA, Clay Gallery, Tokyo, Japan

Reminiscence of Earth, Yanaka Art Forum, Tokyo, Japan

Reminiscence of Earth, Yokohama Museum of Art, Art Gallery, Yokohama, Japan

Reminiscence of Earth, Tokyo National University of Fine Art & Music, Japan

1995 Reminiscence of Earth, Clay Gallery, Tokyo, Japan

1994 Gallery Yoyogi, Tokyo, Japan.

1993 Gallery Miharaya, Tokyo, Japan

1992 Gallery Murazumi, Aichi, Japan

1991 Gallery Murazumi, Aichi, Japan

SELECTED GROUP SHOWS

2014 Re/call/Re/form/Re/master, curated by Jason Wee, Silverlens, Singapore

MDIII: Fragility & Monumentality, Bangkok Art and Culture Centre, Bangkok, Thailand

Market Force: Erasure: From Conceptualism to Abstraction, City University of Hong Kong, Hong Kong

2013 Singapore Biennale 2013: If The World Change, Singapore Art Museum, Singapore

Setouchi Triennale 2013, Asia Art Platform, Fukutake House, Shodoshima, Japan

Art Basel Hong Kong, presented by Osage Gallery, Hong Kong

2012 Kuandu Biennale 2012: Artist in Wonderland, Kuandu Museum of Art, Taipei, Taiwan

18th Sydney Biennal: all our relations, The Gallery of New South Wales, Sydney, Australia

Prints Tokyo 2012: International Print Exhibition, Tokyo Metropolitan Art Museum, Tokyo, Japan

SIGMA ASIA, Art Hong Kong 2012, presented by Osage Gallery, Hong Kong.

Subject Shall Remain Anonymous, Give Art Space, Singapore

2011 City- Net Asia 2011, Seoul Museum of Art, Korea

Wonderland, g23, Bangkok, Thailand

2011 We Who Saw Signs, Institute of Contemporary Arts Singapore Gallery 1, Singapore

THIS IS NOT A FAIRY TALE, g23, Bangkok, Thailand

SOS Sounding Creativity, Bangkok University Gallery, Bangkok, Thailand

2010 PAPER MATTERS, Bangkok Art and Culture Centre, Bangkok, Thailand

Thai Yo : Thai Japanese Contemporary Art, Bangkok Art and Culture Centre, Bangkok, Thailand

2009 Unsung Melody in an Lullaby, Bangkok University Gallery, Bangkok, Thailand

Safe place the future, VER Gallery, Bangkok

ART 80s, HOF ART Gallery, Bangkok, Thailand

Krungthep 226, Bangkok Art and Culture Centre, Bangkok, Thailand

2008 Positive Living, Bangkok University Gallery, Bangkok, Thailand

Busan Biennale 2008, Korea

This is not a Fairly Tale, Soka Contemporary Art Space, Taipei, Taiwan

More to Love, ARTAIDS Project,The Art Centre, Chulalongkorn University, Bangkok, Art Centre, Chiengmai

Coffee, Cigalettes and Pad Thai Contemporary Art in Southeast Asia, Eslite Gallery Taipei, Taiwan

Monologue/ Dialogue II, BISCHOFF/WIESS, London, United Kingdom

Paradise Engineering, The Art Centre, Chulalongkorn University, Bangkok, Thailand

2007 Art on the Coffee Table, Ardel Gallery of Modern Art, Bangkok, Thailand

52nd Venice Biennale, Thai Pavilion, Italy

Show me Thai, Museum of Contemporary Art, Tokyo, Japan

School of Bangkok: who and where are we in this contemporary era, Bangkok University Gallery, Bangkok

2006 Monologue/ Dialogue, Bangkok University Gallery, Bangkok, Thailand

Dual Voltage, Bangkok University Gallery Rangsit Campus, Pathum Tanee

Crossflow, Numthong Gallery, Bangkok, Patriothall Gallery at WASPA, Edinburgh, Scotland

School of Bangkok, Tadu Contemporary Art, Bangkok, Thailand

2005 Shield & Armor, Big Sky Mind, Cubao, Philippines

2004 OH!, site-specific at abandon factory, Bangkok, Thailand

2003 Present Perfect, Bhirasri Institute of Modern Art, Bangkok, Thailand

2001 Recent work by Former Winner, The 10th International Print & Drawing Exhibition R.O.C., Bangkok, Thailand

Dedans Dehors,Galleir CrousBeaux-Arts, Paris, France

Kwarmroo khu Kwarmdee, Bangkok University Gallery, Bangkok, Thailand

2000 Glocal Scent of Thailand, curator: Chukit Panmongkon, Edsvik kunst och kultur, Sollentuna, Sweden

1999 International Biennial Drawing and Graphic Art, Gyor, Hungary

FAB, National Art Gallery, Bangkok University Gallery, Bangkok

1998 Book, site-specific at the former home of Kurusapa Publishing, Bangkok, Thailand

ART RESIDENCIES

2009 Koganecho Bazaar, Yokohama, Japan

2007 Sculpture Square, Singapore

2006 Asian Cultural Contents Creation Center Workshop, Gwangju, Korea

AWARDS2004 BT Goldsmiths prize in Digital Media, London


EDUCATION2004 Goldsmiths College, University of London, London

Bachelor of Fine Arts (BFA)

2000 Centre of Advanced Design (CENFAD), Kuala Lumpur, Malaysia Foundation Studies

25

Prilla Tania, (b. 1979, Indonesia) began her career as an artist in 2003. Her works began from her observations on

everyday activities. She is interested in how humans relate to their natural surroundings as well as the relationship

between culture and nature. Although shes more known as a video artist, she also works with other media from

performance to paper cutting and sometimes even combining several media and technique. Most of her works are

site-specific therefore she rarely shown her work twice, also because some of them are ephemeral, like her paper

cutting works and performances. Since 2007, she has joined several artist in residence programs in Australia, Asia, and

Europe; this experience has exposed her to different cultures and geographic situations which enriches her exploration

and observations on culture and nature.

PRILLA TANIA

SOLO SHOWS2013 E, Selasar Sunaryo Art Space, Bandung, Indonesia

2012 Ik Ben De Chloroman, HIER HEDEN, Den Haag, The Netherlands

2011 Video Out, Focus On Prilla Tania; 5th OK.Video Festival, Flesh; Linggar Seni, Jakarta, Indonesia

2009 mikrokosmos, MD Art Space, Jakarta, Indonesia

2008 tanah di dasar samudera, Cemara 6 Gallery, Jakarta, Indonesia

2005 watching me watching you watching me, Room#1, Bandung, Indonesia

2003 Phiruku, Centre Culturel Franais de Bandung, Bandung, Indonesia


The Fifth Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Japan

Media/Art Kitchen-Politics of Humor and Play, Aomori Contemporary Arts Center, Japan

ART JOG 2014 : Legacies Of Power, Yogyakarta, Indonesia

HKAC 2nd Annual Collectors Contemporary Collaboration-Passion/Possesion, Hong Kong Arts Center, Hong Kong

Art Dubai 2014, Dubai, United Arab Emirates

Weight and Weightlessness, Dia Lo Gue Art Space, Jakarta, Indonesia

Screening Programs PROJECT 35 Volume 2, Platform3, Bandung, Indonesia

2013 Gambar Idoep, Galeri Semarang, Indonesia

Not A Dead End, Jogja Biennale XII, Jogja National Museum, Yogyakarta, Indonesia

Apa Kabar Indonesia, Indonesia-South Korea 40 years Diplomatic Relationship, LOTTE Avenue, Kuningan Jakarta, Indonesia

Crossing Contemporary Culture, MiFa, Melbourne, Australia

2012 Inside The Moment, Crane Arts, Philadenphia, USA

Drift, Ruangrupa, Jakarta, Indonesia

Manifesto#3, Galeri Nasional, Jakarta, Indonesia

The Fountain Of Lamneth, Gajah Gallery, Singapore

Bandung Contemporary Art Award #2, Lawangwangi Art and Science Estate, Bandung, Indonesia

2011 WE ARE MOVING: Fundraising Exhibition, PLATFORM3, Bandung, Indonesia

Flight for Light: Indonesian Art and Religiousity, ART 1 New Museum and Art Space, Jakarta, Indonesia

[in]corporeal, OK!Video-Flesh, Galeri Nasional, Jakarta, Indonesia

Membajak TV, Galeri Salihara, Jakarta, Indonesia

Contemporary Landscape, Lawangwangi Art and Science Estate, Bandung, Indonesia

archiveAID 2011, a fundraising event for IVAA (Indonesian Visual Art Archive) and Pustaka, Indonesia

influx, Galeri Cipta II, Taman Ismail Marzuki, Jakarta, Indonesia

Close The Gap: Indonesian Art Today, MIFA, Melbourne, Australia

2010 DECOMPRESSION#10, Ruru and Friends, Galeri Nasional, Jakarta, Indonesia

Contemporary Art Indonesia-ID, Kunstraum Kreuzberg/Bethanien, Berlin, Germany

MEDIACTION, Chiyoda Arts 3331, Tokyo, Japan

Eattoipa, Taiwan International Video Art Exhibition, Hong Gah Museum, Taipei, Taiwan

Shopping, Nadi Gallery, Jakarta Art District, Jakarta, Indonesia

Nu Substance: The Loss of The Real, Selasar Sunaryo Art Space, Bandung, Indonesia

2010 Lihat! Video art from Indonesia, Galera Jess Gallardo, Len, Mexico

n.b.k. Video-Forum, Neuer Berliner Kunstverein, Berlin, Germany

Magainin, Jakarta Art District, Jakarta, Indonesia

Halimun, Lawangwangi Art and Science Estate, Bandung, Indonesia

2009 Beyond The Dutch, Centraal Museum Utrecht, The Netherlands

Very Fun Park, Fubon Art Foundation Taipei, Taiwan

ligne a ligne, Indonesian National Gallery, Jakarta, Indonesia

Hybridization, North Art Space, Ancol-Jakarta, Indonesia

Bandung Art Now, Indonesian National Gallery, Jakarta, Indonesia

Jakarta Biennale, Fluid Zones, Indonesian National Gallery, Jakarta with VideoBabes

2008 Deer Andry, tribute to Andry Mochamad, S14 Bandung, Indonesia

ZE HUI LAI, Taipei Artist Village, Taipei, Taiwan

10th Year Anniversary of Selasar Sunaryo Art Space, Selasar Sunaryo Art Space, Bandung with VideoBabes

Konsumsi atau Mati, Byar Creative Industry, Semarang, Indonesia

Ruang dalam Hitam Putih, S14 Bandung, Indonesia

MANIFESTO, Indonesian National Gallery, Jakarta, Indonesia

The Past, The Forgotten, National Museum of Singapore, Singapore

2007 Beyond the Boundary, IASKA (International Art Space Kellerberrin Australia), Kellerberrin, Australia

The Past, The Forgotten, Bizart, Shanghai, China; Rumah Seni Yaitu, Semarang; Erasmushuis, Jakarta; Rumah Seni Cemeti, Yogyakarta; The Netherlands Institute of War

Documenation(NIOD), Amsterdam; Artotek, Den Haag, The Netherlands

Intimate Distance, Indonesian Women Arists, Indoesian National Gallery, Jakarta with VideoBabes

MANIFESTO, Indonesian National Gallery, Jakarta, Indonesia

The Past, The Forgotten, National Museum of Singapore, Singapore

ART RESIDENCIES2009 Koganecho Bazaar, Yokohama, Japan





EDUCATION2001 Graduated from Sculpture Studio, Faculty of Art and Design, Bandung Institute of Technology

26

Vanessa Ban (b. 1988, Singapore) is a graphic designer, artist, and lecturer. Her work cohabits contemporary art and

graphic design. She is interested in the mediation between design and art language and is invested in holding the

tension between these two forms of aesthetic discourses. Premising the category of an artwork as a foundation to her

thought process, she sees design as a complementary discursive partner that can subtly speak to the art object.

Notable exhibitions include shows at the London Design Festival, Phunk Studio, Institute of Contemporary Arts

Singapore, Aliwal Arts Centre, 2902 Gallery, the Red Dot Design Museum and Post-Museum.

VANESSA BAN

SELECTED SHOWS2014 Re/call/Re/form/Re/master, curated by Jason Wee, Silverlens, Singapore

Sands Art of Shopping, Marina Bay Sands, Singapore

Print Lab, Grey Projects, Singapore

2013 COSMO, Institute of Contemporary Arts Singapore, Singapore

100 Friends 100 Songs, TCC (the gallery), Singapore

Transmission, Phunk Studio, Singapore

1 Dimensional Society, Institute of Contemporary Arts Singapore, Singapore

Lit Up Festival 2013, Aliwal Arts Centre, Singapore

2011 Not Too Far Away, 2902 Gallery, Singapore

London Design Festival, London

2009 All You Need is Love, Post-Museum, Singapore

2008 Persistence of Living; Memory, 2902 Gallery, Singapore

Thirteen;, 2902 Gallery, Singapore

MAAD The Graduate Showcase, Red Dot Design Museum, Singapore

TALKS AND WORKSHOPS2014 Introduction to Typography, Grey Projects, Singapore

Introduction to Desktop Publishing, Grey Projects, Singapore

2013 Insights on the Design Industry, Institue of Technical Education (AMK), Singapore

Pursuing a Design Education, Temasek Polytechnic, Singapore

Design Collaboration, First Media Design School, Singapore

FEATURES2011 IMPRINT Innovative Book & Publication Design, published by Sandu Publishing, China

International Design Yearbook, published by MDX Publishing, China

Casual Days Issue 01, published by Casual Poet Culture, Singapore

2010 Almost Everything, published by Front Row Singapore, Singapore

Ceriph (Issue 2), published by Math Paper Press, Singapore

WORK EXPERIENCE2012 - 2014 (Present)

Vanessa Ban Studio Independent graphic design studio focusing on print and typographic work. Recent clients include Singapore International Photography Festival, Singapore Tyler Print Institute, Institute of Contemporary Arts Singapore and The Design Society Singapore.

2012 - 2014 (Present)

Adjunct Lecturer Orita Sinclair School of Design Conducting classes for full-time and part-time students in basic software skillset, publication design, typography and the fundamentals of design.

2012 - 2014

Co-Founder BANFAM LLP Indepedent collective working on visual and spatial installations. Past exhibitions include group and solo shows at 2902 Gallery, TCC (the gallery), and Institue of Contemporary Arts Singapore.

2011

Designer Pentagram Assisted designers with a variety of team primarily led by Naresh Ramchandani and Dominic Lippa. Projects include pitch and live projects for the Tate Galleries London, YouTube and Equistone Banks Europe.

2009

Designer Asylum Assisted the Creative Director on projects including Fred Perry Singapore, Chocolate Research Facility and IE Singapore.

2008

Designer 2902 Gallery Created the gallerys collaterals including EDMs, catalogues, pamplets and exhibition graphic design.

EDUCATION2014 Typography Summer School New York

Certificate, Typographic Studies in Graphic Design

2011 London College of Communication BA Hons (Upper Sec) Graphic and Media Design

2008 Temasek Polytechnic Diploma Visual Communication

27

Vincent Leong (b. 1979, Malaysia) is an iconoclast and saboteur whose works in video, assemblage and site-specific

installation often pare down experience to sets of structures and systems. By selecting aspects of the ordinary and the

popular, he investigates social misconceptions within a larger cultural context.

Jason Wee (b. 1979, Singapore) is an artist and a writer. His art practice is concerned with the hollowing out of singular

authority in favour of multiple perspectives and polyphony. He transforms these singular histories and spaces into various

visual and written materials. His interests lie in their conundrums, idealism and unexplored futures.

He is the author of the performance script Tongues (2012) and the poetry book The Monsters Between Us (2013), named

by TODAY newspaper as one of the top art picks of 2013. He is the 2014 NUS-Arts House Writer-in-Residence, and the 2013

Artist-in-Residence at Gyeonggi Creation Center. He is a graduate of The New School and Harvard University.

VINCENT LEONG JASON WEE

SOLO SHOWS2014 Vincent Leong: Hari Ini Dalam Sejarah (This Day in History), Silverlens, Singapore

2012 You Are Here, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2007 Tropical Paradise, Sculpture Square, Singapore

The Exhibition That Was, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2006 The Fake Show, Reka Art Space, Kuala Lumpur, Malaysia


Fall into the Sea, to become an Island, Run Amok Gallery, Penang, Malaysia

2013 No Country: Contemporary Art for South and Southeast Asia, Guggenheim Museum, New York

2012 CUT2012: New Photography From Southeast Asia: Politics, Valentine Willie Fine Art, Singapore

2011 Tanah Ayer: Malaysian Stories from the Land, Selasar Sunaryo Art Space, Bandung, Indonesia

2010 The Future of Exhibition: It Feels Like Ive Been Here Before, Institute of Contemporary Arts Singapore, Singapore

2009 Some Rooms, Osage Gallery, Hong Kong

13th Jakarta Biennale, Galeri Nasional Indonesia, Jakarta

2008 Contemporary Art in School Project (CAIS), Stella Maris School, Kuala Lumpur, Malaysia

2007 The Independence Project, Galeri Petronas, Kuala Lumpur, Malaysia

Selamat Datang ke Malaysia, Gallery 4A, Sydney; and Valentine Willie Fine Art, Kuala Lumpur, Malaysia

4 Young Contemporaries, Num Thong Gallery, Bangkok, Thailand

Threshold, 13, Jari Art Space, Gwangju and Zeroone Design Center, Seoul, Korea

2005 3 Young Contemporaries, Valentine Willie Fine Art Gallery, Kuala Lumpur, Malaysia

ART RESIDENCIES2009 Koganecho Bazaar, Yokohama, Japan





EDUCATION2004 Goldsmiths College, University of London, London

Bachelor of Fine Arts (BFA)

2000 Centre of Advanced Design (CENFAD), Kuala Lumpur, Malaysia Foundation Studies

RESIDENCIES & FELLOWSHIPS 2014 Artist-in-Residence, Gyeonggi Creation Center, South Korea Writer-in-Residence, University Scholars Program, Cinnamon College, National University of

Singapore

2013 Artist-in-Residence, Contemporary Art Japan, Tokyo, Japan

2009 Artist-in-Residence, Tokyo Wonder Site, Aoyama, Tokyo

Artist-in-Residence, Moved, Mutated and Disturbed Identities, Asia-Europe Foundation & Casino Luxembourg, Luxembourg

2008 Artist-in-Residence, International Symposium of Electronic Arts, Singapore

2007 Artist-in-Residence, Artspace, Sydney

2006 Studio Fellow, Whitney Museum Independent Study Program, New York

2005 Summer Institute Residency, The Kitchen, Sidney Kahn Summer Institute, New York

SOLO SHOWS

2015 (upcoming) ArtStage Platform, Silverlens, Manila

2014 (upcoming) Requiem, Michael Jannsen Gallery

2012 Master Plan, Chan Hampe Galleries, Singapore

2009 Ruins, Valentine Willie Fine Art, Kuala Lumpur

Ruins, Valentine Willie Fine Art, Singapore

2007 Captains Log, Tan Kay Ngee Architects Gallery, Singapore

2006 A View Of The Ground, Utterly Art, Singapore

2005 Treasure, Substation, Singapore

2004 Farewell at 5pm, Alliance Francaise de Singapour, Singapore

2003 Reka Art, Kuala Lumpur, Malaysia

2002 Tilt, Art Motion Gallery, Singapore

SELECTED GROUP SHOWS2014 Anthropos New York, Sundaram Tagore Gallery, New York

Notes on Performance, Objectifs Gallery

Parallax, Gyeongju Arts Center, Gyeongsangbuk-do, Korea

Parallax, Hanam Art Center, Gyeonggi, Korea

2013 Parallax, Blue Square Nemo Galleries, Seoul, Korea

The Invisibility Project, The Arts House, Singapore

Free Jazz, Opening Performances, Centre for Contemporary Art, Singapore

Plaza North Art Centre, Saitama City, Japan

Anthropos, Sundaram Tagore Gallery, Singapore

Anthropos, Numthong Gallery, Bangkok

New Black City, Art Stage Singapore (commissioned project)

2012 18@8, Weiling Gallery, Kuala Lumpur

18@8, ION Gallery, Singapore

Project Glocal in DiverseCity, 8Q Singapore Art Museum, Singapore

Project Glocal, Vargas Museum, University of Philippines, Quezon City

Portraiture Now, Objectifs Gallery, Singapore

New Strange Faces, Valentine Willie Fine Art, Singapore

A Place of Our Own, Objectifs Gallery, Singapore

2011 Imagine Malaysia, Valentine Willie Fine Art, Singapore

Unshakeable, Light Editions Gallery, Singapore

2010 Future Perfect, SHContemporary, Shanghai

Electric Dreams, Give Art, Singapore

After LKY, Valentine Willie Fine Art, Singapore

MM I Love You, Objectifs Center for Photography and Filmmaking, Singapore

The Future of Exhibitions, Institute of Contemporary Arts, Singapore

Incessantly Creative, Light Editions Gallery, Singapore

Faith & Reason, Manila Contemporary

ICON de Martell Cordon Bleu Photography Prize, Raffles City, Singapore

No Conical Hats: Southeast Asian works on paper, Give Art, Singapore

A Thousand Times Yes, Manila Contemporary

APPOINTMENTS2014 Graduate Thesis Supervisor (Arts Management), LaSalle College of the Arts, Singapore

2013 Undergraduate Lecturer (Arts Management), LaSalle College of the Arts, Singapore

2012 Member, International Advisory Panel, Lasalle College of the Arts, Singapore

Assessor, Graduate Dissertation (MA. Arts and Cultural Management), Lasalle College of the Arts, Singapore

Guest Critic, Sophomore Photography Seminar, Parsons The New School of Design

2010 Undergraduate Tutor, School of Art, Design and Media, Nanyang Technological University. Taught Western Art History

2009-present Graduate Studio Supervisor (MA. Fine Arts), LaSalle College of the Arts, Singapore

2009-present Graduate Thesis Supervisor (Art History), LaSalle College of the Arts, Singapore

2009 Graduate Lecturer (MA. Arts and Cultural Management), LaSalle College of the Arts, Singapore. Taught Perspectives on Art, Culture and Globalization

External Assessor, School of Arts, Design and Media, Nanyang Technological University, Singapore. Graded Western Art History

Faculty, Shooting Home Juried Workshop, Objectifs Centre of Photography, Singapore

2008 Undergraduate Thesis Supervisor, LaSalle College of the Arts, Singapore

Undergraduate Lecturer (BA. Arts Management), LaSalle College of the Arts, Singapore. Taught The Arts in Context: The Contemporary

2007 Graduate Thesis Advisor (MA. Fine Arts), LaSalle College of the Arts, Singapore

Adjunct Faculty, Objectifs Center of Photography, Singapore

2006 Adjunct Faculty, International Center of Photography, New York. Taught A View of the Ground. Landscape Theory and Photography

2004-present Editor, Softblow Poetry Journal, Singapores only journal dedicated to poetry

2003-2004 Editor, Vehicle, Singapores only visual arts and visual culture magazine

2001-2004 Guest Editor, the2ndRule.com intermedia journal

EDUCATION2010-2012 Masters of Design Studies, Art, Design and the Public Domain,

Graduate School of Design,Harvard University, Cambridge

2004-2007 Masters of Fine Arts in Photography and Related Technologies, The New School, New York

Studied with Simon Critchley (Theories of the Political), Agnes Heller (Kant, Marx), Edward S. Casey (Deleuze and Bergson)

1999-2004 Bachelors of Arts in Political Science and English Literature, with honors. National University of Singapore

Thesis: I Am What I Am: Violence and Subjectivity in Derrida and Levinas

28

SILVERLENS (Manila and Singapore), through its

exhibition program, artist representation, art fair

participation, and institutional collaboration, aims

to place its artists within the broader framework

of international contemporary art dialogue.

SILVERLENS, founded by Isa Lorenzo and

Rachel Rillo, has earned recognition from both

artists and collectors as one of the leading

contemporary art galleries in Southeast Asia.

Artists represented include Maria Taniguchi,

Patricia Eustaquio, Gary Ross Pastrana, Luis

Lorenzana, and I Lann Yee. Recent collaborations

include the Museum of Contemporary Art and

Design Manila, Vargas Museum Manila, and

Singapore Art Museum. Silverlens participates

annually in key international art fairs.

RE/CALL/RE/FORM/RE/MASTERCopyright 2014 Silverlens Inc.All rights reserved.

Published by Silverlens Singapore Pte Ltd

RE/CALL/RE/FORM/RE/MASTER by Bani Haykal, Nipan Oranniwesna, Prilla Tania, Vanessa Ban and Vincent Leong, Curated by Jason Wee presented in Silverlens, 12 September to 12 October 2014, at 47 Malan Road, #01-25, GillmanBarracks.

Exhibition Notes by Jason Wee

No part of this publication may bereproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or otherwise, without the prior written consent of the above mentioned copyright holders, with the exception of brief excerpts and quotations used in articles, critical essays or research.

ISBN: 978-981-09-2583-3

Back Cover Image:Observation of Sound (Visualizing Silence), 2014; Vanessa Ban (detail)

PHILIPPINES

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SINGAPORE

47 Malan Road#01-25 Gillman BarracksSingapore 109444T +65.6694.4077F +65.6694.4077 M +65.9782. 3013

[email protected] www.silverlensgalleries.com

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