It is no other than movement in space, over time, that allows a change in perspective. From one point in space, at one point of time, you can see a smoothly curved line. You have the option to believe that that’s the only reality: that the line you’re looking at is smoothly curved. […]
Category Archives: lure
Art HK was not generally too crowded, although at some point it was difficult to really see the artworks. I imagine however that it was quite easy to spot Lure: just spot the big flock of people or the long queue. I suppose there were few that attracted that many people. Lure (2009) at Art […]
What a Wonderful World: visions in contemporary Asian art of the world today, curated by Naoko Sumi at the Hiroshima Museum of Contemporary Art. 24 Mar – 13 May 2012.
Lure (2009) at 4th Moscow Biennale. Presentation supported by Osage Art Foundation.
Machine sketch, da capo al infinito.
Lure (2009) at Last Words: Asian Traffic, 4A Centre of Contemporary Asian Art, Sydney, 2010. Curated by Aaron Seeto. Thanks to Osage Gallery, Summar Hipworth, Samuel Zammut, Yu Ye, Richard Wolfson and Joelle. Photos by me. Video courtesy of Aaron Seeto.
Osage Singapore has an interesting space. Really high ceiling, and some cracks on the floor. I traced those cracks with my small passports. The trail goes all over the place. On the walls and the ceilings, the trail is arbitrary. And the trail of small passports on the floor makes you have to watch where […]
Lure (2009) is a spatial installation using handmade miniature passports, handmade real-size passports, and a claw vending machine. The installation consists of two coherent parts — the Intro and the Main part. The Intro is a long line of colourful miniature passports that is composed along the exhibition space, analogous to Hansel and Gretel’s trail […]
The production of Lure involved a curator (Eva McGovern) based in Kuala Lumpur, a production supervisor based in Yogyakarta, and a production assistant based in Melbourne, as well as subcontractors in Guangzhou and Yogyakarta. This valuable experience of a multinational production had to be made possible because I could not go out of Australia in […]