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content slated for destruction
(with V, Stephanie Dogfoot, remote working group)
Printed metal badges, digital print on paper, xerography on paper
In 5 parts (#orchidrevolution, Free Speakers Corner, Publishing as Direct Action, Squatting Home, Welcome to the Reclaimed Territory)
Installation dimensions variable
2015 (ongoing)
content slated for destruction is made up of speculative paraphernalia generated from scenarios pertaining to political resistance. Working in varying degrees of collaboration with other individuals convening remotely through the internet, these objects are produced in volume and treated as a kind of strange, fictive evidence-as-souvenir of the not-quite and the yet-to-be, posed as something soon-to-be-gone when exhibited.
The site of exhibition is utilised as a distribution channel for the free dissemination of an art work and information embedded within it. Beyond the didactic, it is also treated as a testing ground for pushing the boundaries of the permissible. These objects reference ideas, language, images, and forms of material produced from people’s movements, uprisings, community organising, and tactical knowledge occurring around the world but largely absent from Singapore. They contemplate transnational grassroots solidarity and continue an ongoing inquiry into the potential of imagination and prefiguration in the face of fear and authoritarianism. As with content flagged for surveillance, the work preempts its own flattening into content to be parsed, managed or discarded, mirroring the way censoring apparatuses may treat subversion in actuality. The work was prevented from being displayed in its intended form when first shown in Singapore. |
Installation view: Institute of Contemporary Arts Singapore, February 2015 |