Video Installation, projection on toilet roll
Tumblr and citizen-journalism website STOMP acts as a departure point for the digital image's representation, value, circulation and interactivity. Equally intriguing is the coordinated gestures of our fingers dispensing such information.
Who's Looking - Post Museum Pop Up at Gillman Barracks (2014)
Digital Art Week - Platoon Kunsthalle, Seoul (2014)
Artist in Residence at Raffles Institution
The Digital Dump delves into existing approaches and future possibilities that artists can extrapolate from this digital archive to understand and communicate our entanglement with digital photography in contemporary living, as a way to understand our position in the society. This workshop and collaboration with the RI students involved the sharing of personal research and methodology PHACKS, equipping them with skills to understand how to construct narratives with images, sieve though social media to uncover new connections, and present them creatively as a video installation. The installation was a mirror of the existing sociological impact of the internet’s archive upon visual culture, propose future possibilities, and discuss how these possibilities in turn affect the public sphere.
Single Channel Video
Reflecting on the convergence of event and personal paths during the final lap of the Singapore History Gallery journey, Our Moment of Anguish explores the disjuncture of the individual relating to the event. Having people from all walks of life re-enact the famous moment in Singapore history and making it their very own, the work questions the validity and significance of this video document in contemporary Singapore.
after|thought (NUS Curating Lab 2013) - Goodman Arts Centre, Singapore
Southeast Asian Studies Symposium in Oxford
Single Channel Video Installation
Vanishing Point explores the removal of a country's trace from another. In Singapore, Keretapi Tanah Melayu (KTM), the only railway operator linking Singapore to Malaysia was closed on 1st July 2012, it's tracks removed and returned to Malaysia. What is left behind is a trail that is quickly disappearing. In China, a similar removal manifests itself as the 'Broken Bridge' in Dandong City.
Paths bring us from one place to another. Documentation of these erased paths becomes a way to interrogate territorial tensions that lie between borders, and stories that emerge from them.
Mirror of Otherness - Gaodi Gallery, Shen Yang, China (2012)
PARALLAX Between_Borders: Singapore_China - ICA Gallery, Singapore (2013)
Single Channel Video Installation
"To be a witness requires more than just description of Singaporean apathy, alienation and lack of moral purpose. It requires a restorative vision, a healing gaze." - Philip Jeyaretnam
Original Short Film conceived in 2011
Video art cut shown at Videologue - ICA Gallery 2, Lasalle College of the Arts, Singapore
Thesis Project presented at ADM Show 2012
PHACKS (photo_hacks) is a series of work that deals with the proliferation of digital images. Using images collected via social media, the artist explores new ways to order and display these images - extending into various artistic media such as performance, sculpture and video. Through this series, ideas about public & private, the act of photography and photographic conventions start to surface. These digital images were presented as printed postcards - PHACK RACK, projected onto a photo frame - Rephotography and used as sequences in a video essay - PHACK Video.
Three channel video loop on canvas with a security camera
Trip explores museum mannerisms as a form of choreography. The term “choreography” is transposed to the field of human relations, as a way of framing the world, an art of interaction and interference, a physical movement of ideas. The choreographed movements of a curator are mimicked by the artist himself, inviting the audience to participate in this chain of movements with their own bodies. The work questions the relations between intention and movement by featuring different types of motion, including those that are planned, copied and spontaneous—habitual actions that can be considered choreography of our daily lives.
Ricky Sim holds a MFA (Dance) and has worked as a professional dancer, choreographer and educator for more than 20 years in Asia, Australia, Europe and America. Yue Han’s correspondence with Ricky began when he worked on multimedia design for Sim’s theatrical production It Appears That…. Their shared interest in pushing the boundaries of choreography has brought them together for this work.
In Beijing, Yue Han engaged Wu Zhenhuan, Artistic Director of Beijing MOCA, to perform alongside him, questioning the shifting roles of the curator, artist and audience.
The title of the work is playfully derived from the term “triptych”, which was traditionally a pictorial form consisting of three carved panels hinged and folded together. It refers to both an excursion and a small nimble movement.
Videologue: Beijing, Sunshine International Art Museum, 2011
Videologue: Beijing is a travelling video art exhibition and exchange between Beijing and Singapore featuring highly experimental artists who use diverse and multiple media and subjects to investigate and present ways of looking at moving images. Elements of film, video and sound that compliment and emphasize the experience of watching, looking or gazing at the works in projection, screening, installation or objects. The co-curators of both of Beijing and Singapore had presented and exhibited works in each other’s cities on many occasions. This time they seek to use the video medium in dialogue with one city and another in narration and formalism.