Abstract
The exhibition positions art and the moving image as sites of historical inquiry. The featured works disrupt the legitimacy assigned to well-known historical events, and consequently encourage reflection on the importance of personal historical memories in the formation of historical narratives.
the upcoming exhibit positions art and the moving image as sites of historical inquiry. The featured works disrupt the legitimacy assigned to well-known historical events, and consequently encourage reflection on the importance of personal historical memories in the formation of historical narratives.
"This process has forced me to think about how visual artworks position the human being in a network of material conditions. Taking Lucy Davis as an example, her work touches upon the teak trading history in Singapore vis-à-vis our national history. One of the historical objects she presents is two sets of Malay timber samples; it was first studied and compiled by the British government in the 18th century. They surveyed the natural resources we have in Singapore, and by labelling this wood sample, they named and categorised it. In so doing, nature as a common good was rendered into a consumable object and therefore was able to circulate within the capitalist system for the good of its colonial masters.
The same happens to human beings. We are defined by pre-existing forms of knowledge and those labels let us be recognised by the existing system of neo-liberal governance. "
Lucy Davis components:
3 150cmx 240cm wood print collage works
2 70 x 50 cm woodpring collage works
Colonial era wood samples with Malay names
23 minute hand animated film: Jalan Jati (Teak Road)
the upcoming exhibit positions art and the moving image as sites of historical inquiry. The featured works disrupt the legitimacy assigned to well-known historical events, and consequently encourage reflection on the importance of personal historical memories in the formation of historical narratives.
"This process has forced me to think about how visual artworks position the human being in a network of material conditions. Taking Lucy Davis as an example, her work touches upon the teak trading history in Singapore vis-à-vis our national history. One of the historical objects she presents is two sets of Malay timber samples; it was first studied and compiled by the British government in the 18th century. They surveyed the natural resources we have in Singapore, and by labelling this wood sample, they named and categorised it. In so doing, nature as a common good was rendered into a consumable object and therefore was able to circulate within the capitalist system for the good of its colonial masters.
The same happens to human beings. We are defined by pre-existing forms of knowledge and those labels let us be recognised by the existing system of neo-liberal governance. "
Lucy Davis components:
3 150cmx 240cm wood print collage works
2 70 x 50 cm woodpring collage works
Colonial era wood samples with Malay names
23 minute hand animated film: Jalan Jati (Teak Road)
| Original language | English |
|---|---|
| Place of Publication | Singapore |
| Publisher | National University of Singapore Museum |
| Media of output | Film |
| Size | 23 min |
| Publication status | Published - Sept 2020 |
| MoE publication type | F2 Partial implementation of a work of art or performance |
| Event | Wishful Images: When Microhistories Take Form - National University of Singapore Museum, Singapore, Singapore Duration: 22 Sept 2021 → 25 Dec 2021 https://museum.nus.edu.sg/whats-on/exhibition-wishful-images-when-microhistories-take-form/ |
Field of art
- Contemporary art
- Film