Exhibitions / 作品展示

Exhibition – Objects (II): Siew Kee-Liong

May 6, 2022 – June 2, 2022

  • Siew Kee Liong’s solo exhibition: The Singapore-based artist presents his large-scale photo-installations of found objects on industrial materials, revisiting his works from 1993.
  • 5th Passage initiative: Siew was involved with this pioneering artist-run initiative that subverted the boundaries of authorized spaces for art in Singapore and experimented with diverse art forms.
  • Dissolution and objecthood: Siew’s selection of broken objects reflects his influence by the notion of dissolution from the I-Ching, which refers to the final stage of everything as a natural phase of life. His artworks invite a quiet contemplation of the transient nature of objecthood.

OBJECTS / 废弃物件 (II)

May 6, 2022 – June 2, 2022

Gajah Gallery
Singapore

Dissolution and objecthood: Kee-Liong’s selection of broken objects reflects his influence by the notion of dissolution from the I-Ching, which refers to the final stage of everything as a natural phase of life. His artworks invite a quiet contemplation of the transient nature of objecthood.

OBJECTS / 废弃物件

OBJECTS / 废弃物件

May 6, 2022 – June 2, 2022 / Gajah Gallery / Singapore

Siew Kee Liong’s solo exhibition: The Singapore-based artist presents his large-scale photo-installations of found objects on industrial materials, revisiting his works from 1993.

Group Exhibitions / 群展

5th Passage: In Search of Lost Time

‘5th Passage: In Search of Lost Time’ Curated by John Tung – Gajah Gallery

Gajah Gallery / Sep 23 – Oct 17, 2021

Siew Kee Liong (Participating Artist, Body Fields, 1993; Object and Remembrances, 1993; A Dialogue with Memory, 1993; Surrogate Desires, 1994)

The 5th Fukui International Video Biennale

The 5th Fukui International Video Biennale was an event that showcased video art from Asia and other regions. It was held from July 30 to August 12, 1993, in Fukui City, Japan. The theme of the event was “Winds of the Media from Asia”, which reflected the diversity and dynamism of the media culture in Asia.

Siew Kee-Lion g’s Dreams # 1 & # 2 consists of several disjunctive sequence and situations.

In all likelihood, it bears the influence of the trance film from the 50’s and 60’s American Avant-garde film tradition: slow motion, frozen frame, abrupt changes of location, all so common in the experience of dream.

Dreams: #1 & #2 embodies the reflective experience of its creator. It ‘animates’ and one challenge is whether it is capable of revealing the inner states of self.