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Download 'Sensorium 360°' Exhibition Guide 1 Sensorium 360° ARTISTS Contemporary Art and the Sensed World 1. Bui Cong Khanh 31 July – 22 October 2014 2. Lavender Chang 3. Tad Ermitaño 4. Li Hui 5. Alecia Neo Sensorium 360° is an exhibition of Southeast Asian and Asian contemporary art that 6. Goldie Poblador calls upon the complexity of the human senses and explores how sensory experiences 7. Pinaree Sanpitak locate us in understanding the world and knowing the self. 8. Eugene Soh In the sphere of visual art and daily life, vision and sight tend to dominate our perception, 9. Linda Solay yet other senses are equally indispensable in enabling us to apprehend the world within 10. Melati Suryodarmo and without – taking in its pleasures and pains, even as we filter, and absorb, data and 11. Mark Wong information. These physiological capacities are also sources of creativity for other fields such as music, gastronomy or even perfumery, and contemporary artists, in crossing disciplines, have often drawn upon the sensorial spectrum. While the five senses of sight (ophthalmoception), hearing (audioception), taste (gustaoception), touch (tactioception) and smell (olfacoception) are the most commonly known, other identified senses include the body’s ability to detect movement (kinaesthesia) and position (propioception), pain (nociception), balance (equilibrioception), and even time (chronoception). Less easily explained but no less compelling is the ‘extrasensory’ perception of the ‘sixth sense’ – intuition or premonition. CURATORIAL TEAM and artwork captions written by: The exhibition presents several newly commissioned works and loans from artists from Singapore, Southeast Asia and beyond, with many of the works focusing on one Lead curator Joyce Toh (JT) specific sensory experience. In unfolding the varied phenomenological dimensions of with Tan Siuli (TSL) and Rachel Ng (RN) the senses and our sensibilities, Sensorium 360° seeks to highlight different facets of the sensorial experience: its relationship to well-being and health; synaesthesia (how one sense translates into another); how sensorial perception may trigger other aspects © 2014 Singapore Art Museum of human cognition (e.g. memory), or even serve as an entry point into realms beyond © 2014 Individual contributors the physical world, such as spiritual contemplation. All artworks are © the artists unless otherwise stated. Information correct at the time of publication. Spanning the fields of art, phenomenology, philosophy and cognitive psychology, All rights reserved. Apart from fair dealing for the purposes of private study, research, criticism, or review, no part Sensorium 360° is a visual art exhibition that moves beyond vision to ‘see’ the world of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, through the other senses, and to experience it in-the-round. electronic, mechanical, photocopying, recording, or otherwise, without prior written consent from the Publisher. Graphic designer: Quinny Vu Printer: alsoDOMINIE, Singapore Organised by Supported by In Celebration of Alecia Neo Level 1 Unseen: Touch Field 2014 Braille drawings, book, video projection and sound Installation dimensions variable Video duration: 15:00 mins Collection of the Artist Singapore Art Museum commission Unfolding like an endless topographical illustration, Touch Field depicts the cityscape of Taipei. Yet this picture is also unique for another reason: it is a drawing that is meant to be ‘seen’ in the dark, by the hand instead of the eye. The tactile installation is a development of Unseen, an on-going project that Neo first undertook with blind and sight-impaired participants at the Eden Social Welfare Foundation in Taiwan, and the work now invites visitors to be immersed in – and experience – the reality of individuals who have a lost or diminished sense of sight. During her residency, the artist collaborated with and guided participants to create photographic self-portraits and images of their surroundings, which were exhibited in 2012 and subsequently rendered into the ‘braille drawings’ of Touch Field. Bereft of one perceptual sense, the body compensates and adapts by redirecting attention to other senses, notably touch and sound, to navigate the world, and with time and training, these other senses attain new sensitivity. The human ability to adjust and acclimatize in the face of challenging conditions is an admirable characteristic, and for the artist, core to the work is the idea that people are more alike than we often believe to be true. In encouraging visitors to be more attuned to their other senses within the darkened environs, Touch Field also considers how we are able to interpret space, sans vision, whilst exploring the dynamics between imagery and tactile forms. (JT) Alecia Neo’s (b. 1986, Singapore) practice often explores the relationship between people, their contexts and their living spaces; reflecting on how identity is embedded in possessions Image courtesy of the artist and homes. Working primarily with photography, video and installation, she produces bodies of portraits involving a variety of individuals, overlooked communities and their spaces. Her debut site-specific project, “Villa Alicia” (2011) investigated the fragility of memory, through the transformation of the private home of the late Singaporean feminist Dr. Nalla Tan. In 2012, she was commissioned by the ‘M1 Fringe Festival 2012: Art and Faith’, Singapore. Neo has exhibited at the Singapore International Photography Festival` (2010), the International Orange Festival, China (2011) and the University of Bangkok, Thailand (2011). In 2012, she was artist-in-residence at Cittadellarte’s “Universita` delle Idee”, Italy. Neo lives and works in Singapore. Sensorium 360° 3 ` Tad Ermitaño Level 1 Twinning Machine 4.0 2014 Interactive installation with camera, projection and computer programming Installation dimensions variable Collection of the Artist Twinning Machine 4.0 highlights the relationship between vision, proprioception and kinaesthesia by playing upon, and subverting, the expectations of the mind as it relates to the sense of sight and the body’s position and movement. These dynamics are key in navigating daily life, notably in the numerous activities involving eye-hand (and for that matter, foot) coordination, in which visual input is processed in the brain to guide, control and synchronise bodily actions, and vice versa. An interactive installation, the video captures the viewer and projects the image onto a screen. Seeing oneself ‘live’ and life-sized simulates the effect of looking into the mirror, and the mind anticipates the image to behave in correspondence with the body’s actions and movements – a visual replication of what it physically feels. Yet in actuality, Ermitaño has created, in his words, an “anti-mirror”. In Twinning Machine, a coded time-lag projects a delayed ‘reflection’ that disrupts visual and kinaesthetic expectations, as the camera feeds back an image of the participant as s/he existed a few seconds ago. With the visual cues and physical sensations ‘glitched’ and out-of-sync, the result is cognitive dissonance. Yet it also allows the quick-thinking participant to react by performing a new set of bodily gestures that respond to the optics of the slightly ‘past’ self – a virtual doppelganger which has a spatial and temporal reality that is dependent upon, but also distinct, from the self in real-time. (JT) Image courtesy of the artist Tad Ermitano~ (b. 1964, Philippines) holds a Bachelor’s degree in Philosophy from the University of the Philippines, but trained in film and video at the Mowelfund Film Institute. A new media artist, Ermitano~ creates interactive audiovisual machines and installations with electronics and computer programs. Notable among these are the computer-augmented video installations Sammy and the Sandworms, Shift Register, Quartet, Gangsa, and Twinning Machine, which have been featured in a variety of venues and festivals, including the Singapore Biennale 2013; ‘Media/Art Kitchen – Reality Distortion Field’, Philippines (2013); ISEA, Singapore (2008), and the Ogaki Biennale New Media Festival (2006). His single-channel films have been screened at festivals including the Yamagata International Film Festival, and the Hong Kong International Film Festival. He lives and works in Manila, Philippines. Sensorium 360° 5 Eugene Soh Level 1 The Overview Installation 2013 – 2014 Video goggles and wireless CCTV installation Installation dimensions variable Collection of the Artist The Overview Installation, quite literally, transforms the way we see the world and ourselves. Donning one of the sets of modified goggles, a participant’s normal viewpoint is replaced by an image streamed from closed-circuit televisions. Moreover, varied configurations in the goggles and CCTV feeds allow for differing kinds of perspectives: from the third-person or ‘god view’ from above; to the second-person or ‘vice-versa’ image that two participants will see of, and from, each other; and that of lateral vision, which simulates the perspective that most animals possess, such as lizards and horses. The Overview Installation delves into the world of augmented reality, in which vision is mediated – and enhanced, or perhaps complicated – through the digital eye. Once the domain of science fiction and spy novels, the technology used in this interactive work is now common in warfare, gaming, surveillance and indeed, daily life, where every smartphone comes equipped with GPS-tracking
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