Joel’s ‘Kamakrazee’ features an installation which depicts a fictional retro-futuristic narrative – Japanese biker gangs called the “Bosozuku (暴走族)” being the subject of focus.
‘Dirty Corner’ by Goh Abigail which draws from Brandon LaBelle’s ‘Dirty Ideas’, is a work about orchestrating interesting sounds and building sound apparatuses. It seeks to generate a unique listening experience – a space where one has to be conscious of the act of hearing itself.
Urich Lau’s ‘Video Conference’ is a series of video installations that experiments with interactions within the site and with any audience in presence. In ‘3 Interferences’, images are created by interfering various video signals with displays and cameras.It simultaneously weaves captured images of the audience and any motion in the space – as the audience gaze at the screens, they are also being being captured by them.
Ryf Zaini’s ‘In power we trust’ questions the power of the spotlight which focuses the attention of the roomon certain objects and creates a form of discrimination caste system – the appeal of the artwork does notfall within its aesthetics or its conceptual prowess, rather than the lure of the spotlight to pick and choosewhat is important, directing and telling us what to look at.
Tinu Verghis attempts to cultivate a direct language through video performance art based upon the idea that the dominant language is a form of manipulation. In ‘Pressure Drop’, she uses body as a tool to critique violence against women. The Indian Pressure Cooker weight as the domestic object brought together with the feminine accessory and the immediacy of performance. And in ‘Under My Skin’, she peels away cultural constructions conditioning her image, claiming her body as her own.