忙完了我的摄影project，一伙儿便到Sushi Tei去享用我们的午餐。Sushi Tei可是我在KL实习，还未正式上班前，倩在KL请我的那一餐。我想我永远都无法忘记那一刻的温馨。Ten of us就是这么一回事。
还第一次和cheeky用三种方式品尝Unagi Don，最特别的可说是在饭里淋上Sushi Tei的上汤。这也是绝对意料之外的小惊喜。
第一次尝试的 yoguberry ＋nata de coco。好像现在再来多一杯！
把生活的点点滴滴，通过镜头记录下来，在自恋的慢慢回味是我品尝生活的方式。有多少人是在忙碌扰攘的每一天里，囫囵吞枣地诠释生活？突如其来的想法，savour your everyday with your loves 似乎还不错。
ps. happy birthday, huey phing jie jie!
by Khvay Samnang, Cambodia
Beginning in 2010, the artist was drawn to Phnom Penh's public lakes - vital urban hydraulic systems and vibrant residential areas that have become contested sites as the Cambodian government allows them to be filled with sand and offered for private sale. Reaching to this before it became global news, Khvay entered the lakes at different stages of their 'development' and poured a bucket of sand over his head. Untitled brings these succinct acts into wider view.
by Kumari Nahappan, Malaysia
Comprising more than 4000 kg of saga seeds collected from across Southeast Asia, Anahata is a site-specific installation located in the heart of the Singapore Art Museum. In Hindu cosmology, the word refers to the fourth and 'heart' chakra, meaning 'unstruck' or 'unhurt'. The idea of change is expressed here not as an active force or physical manifestation, but rather as sheer potential energy as embodied in the seed, which holds the life-force of an entire tree in its kernel. The work recalls the history of the site as a former Catholic boys' school, a place where knowledge and learning were planted. Pulsing with the energy of thousands of seeds, Anahata intimates that the greatest power is that of pure possibility.
by Ahmad Abu Bakar, Malaysia
This work Telok Blangah features a kolek Melaka (traditional fisherman's boat from Melaka) filled with thousand glass bottles inscribed with messages from male prison inmates in Singapore. These messages describe the inmates' hopes and aspirations while serving their sentences and upon their release.
backdated / Jan 18, 2014
If The World Changed, the title of the 4th Singapore Biennale which I dropped by last Jan, was an invitation to artists to respond to and reconsider the worlds we live in, and the worlds we want to live in.
The surge to read the Biennale booklet all over again, driven by Sam's blog that I seriously have to write more. That particular kind of appreciation for my everyday that I'd love to journal and share. And tonight, we will adore part of the beautiful artwork by various artists which were being captured during Biennale.
by Tisna Sanjaya, Indonesia
For Sanjaya, art gains its greatest intimacy through a direct connection with the life of the people and a fearless exposure of injustice. For this work, he has imagined an 'embassy' dedicated for the people of the world to gather and share their thoughts about the problems of today.
by Shieko Reto, Malaysia
Waiting Room echoes the many episodes of 'waiting' faced by transgender persons, such as waiting for a family's acceptance, for the legalisation of official personal documents, and for the confirmation of and acceptance into regular employment. The installation is constructed to mimic a typical clinic, presenting an all-too-familiar journey in the lives of transgender persons as they undergo various phases of constructive surgery, before what is considered the defining procedure: gender reassignment surgery.
by Nguyen Huy An, Vietnam
The deep black abyss of Chinese ink and its hypnotic scent immediately conjure notions of a literary history rich in tradition and culture. In The Great Puddle however, this rich and illustrious history is interrogated and the ink's reflective surface reveals as much as it obscures. Its opaque darkness also hints at hidden secrets lurking beyond the dark corners of the pool. The artwork is a commentary on the lingering scent of power and corruption, as metaphorically represented by the form of a bureaucrat's writing table. While the ink attempts to conceal the 'shadow' of dirty dealings. Its reflective surface ironically reflects reality and becomes, in and of itself, a permanent black shadow in which all forgotten events resurface.
Text courtesy of Biennale booklet.
backdated / Jan 18, 2014