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|      |   on   paper
Various dimension and media on paper 
17 – 28 Jan, 5 – 9 Feb 2025 (part of Singapore Art Week 2025)
FARM, Waterloo Centre

A creative exercise using 4 pieces of paper and a series of correspondence.

Click on the color tabs for text and images.

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Paper stock from Shu & Kirti

|      | on paper is an experimental ‘residency’ that begins with a letter and
four sheets of A4 paper.


Instead of a studio with four walls, the project provides four sheets of A4 paper as the artists’ material and/or “studio space.” These simple materials serve as the site for artistic exploration and creation—the papers can function both as workspace and medium.


Once the four sheets of A4 paper have reached the artists, they are free to work with them in any way imaginable. They could draw or paint, poke or fold, sculpt or scan, cut or tear, and make with/on the paper in any way they wish.


The final showcase will act as a ‘library’ and ‘archive’. Each piece of paper
exhibited offers a glimpse into an artist's world and unique point-of-view, and offers some insight into their artistic practice and journey. These works will be accompanied by letters written by the co-initiators and the artists.


This project is initiated by Hong Shu-ying and Kirti Upadhyaya, and commissioned by the National Arts Council as part of Singapore Art Week 2025.

 

Works  |      |  on  paper​

I received the paper stock from Shu & Kirti on October 21st without any instructions. The paper is not quite pristine but feels precious nonetheless. I think that's because blank papers holds so much potential.​

 

So, I decided to play with the idea of creating something representing blankness. Four of these will eventually be glued on the paper stock, making the them function like literal walls. 

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Letter #1 from Shu & Kirti

Shu & Kirti's letter #1

23 Nov 2024

Hello Siong King!!!

It’s so surreal to invite you for this project! I think a small part of the courage to initiate this also came from your project Meeting People is Easy - is it really? Haha.

There is something about artist-initiated projects and artists who initiate projects. For me, as I slowly learn more about the things out there, I'm in awe of the pride and generosity people have in community building and knowledge-sharing.   How  to start? Where to start? And why start? And, and  how to  "balance" this with your own art practice?  As an artist, I'm also curious  how you document and archive all these conversations and fragments in your life + practice.  How do you find time to hold space and how does everything fit into all the different facets of your life? 

I really like the love "Actually, I make meaning that you leave in your bio." This idea of each thing you do becoming points that link together forms in my head - making connections. Meaning that we only make context, much like the Chinese 语境. The language that we speak, connect and make with has an environment that leads & summons it.

“|      | On Paper” is an invitation to make but also to re-imagine.  What makes the 3 hours you spent with the visitors/audiences at MPIE different from hanging out with someone in your studio?   What makes the 4 pieces of papers we share with you different from the ones sitting in your studio or the stationery store?  I hope that it's the invitation and the conversations we will have amongst the big and small things happening in life that makes this project meaningful and fun.

And on that note, the phrase "room-temperature art" that you mentioned really comes through//time. (I've been borrowing this phrase with other artists when chatting, haha). It's quite curious how something as simple and pure as art - to make tangible/translate how one thinks/feels, has become such an elaborate affair. There seems to be this odd tension between making (fine) art and how it sits in our everyday lives. And then comes the perpetual debate of whether everyone can make (good) art? What is (good) art?  What do you think? 

For me, any earnest desire to share is commendable, sometimes it has the wrong intentions/unsuitable methods. But this desire is human.  Whether it crosses to become art depends on whether it makes people feel  (though I fail to articulate the nuances of feel what & how).

So yes, let's see what comes out of these thoughts and your journey with our very make-shift + walls in the residency! :)

Shu (and Kirti)
 

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Studio View

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 I found the following questions in the file "Shu Letter" in your Google Drive. Here's the information I provided, formatted for easy copying:

1. "How to start? Where to start? And why start?"


   * Context: Shu is asking about the challenges of initiating a community art project. She seems interested in your experience and advice on beginning such an endeavor.

 

​Working With What I have

I start with available resources and limitations. Each project builds on flaws and interests from previous projects. These can be stylistic, conceptual, technical or what have you. All my works are linked that way. So, "starting" feels inaccurate. It's more a continuation of a process.

I was curious about AI, but didn't explore it when making Pelacur Musik. My recent video essay with Taka from The Venopian Solitude. Because I think AI is likely at the forefront of creating new video formats. But I don't know where to start. When I'm unsure I usually begin with the obvious.

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Screencap from Pelacur Muzik, 2023

 

For Who?, For What?

Since art school, I knew art is more than whatever that's in a white cube. And I refuse to make art only for the rich to buy and for the intellectual to appraise. In my youthful idealism I thought of art by, of and for the people. Wah…  I think most artists have a secret suspicion that their art is useless. Sharing my practice helps me find other uses for it.

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Projek Seni Taman Medan, 2002 -2005

Five Arts Centre & British Council Kuala Lumpur

 

Who's The Community?
In my 20s I joined a community engagement project called
Projek Seni Taman Medan.  We ran weekly art and filmmaking workshops for children aged 10-16 from an inner-city area. The children made short videos from their stories, which were shown to their community. The project was award winning and media friendly. We were praised as conscientious youth, but something felt off.  My role as a facilitator wasn’t a good fit. I wanted to find other ways to define and create inclusive work.

 

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Stills from Malaysian Artists At Work (MAW)

 

Room Temperature
My ongoing video essays on Malaysian artists (
MAW) and open studio project Meeting People Is Easy (MPIE)  were developed from these ideas. I want inclusion to be more transparent and sustainable. More room temperature, so to speak. And not something that always comes with a press kit. Not that I’m against those types of projects. For me, there isn’t a need to always signal that. A community-focused project can be as simple as showing up and helping an artist friend with a task without expectation. The key is consistency.

​​

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Promotional still from Meeting People Is Easy, 2017

 

Roles

Also, I don’t need to express all my ideas through my art. I’m a citizen, and not just an artist. I can hold doors, give way, be polite, be punctual, don’t cheat, steal, harm and other sensible things. In fact these are things we can all do. Starting today, with little cost, for the rest of our lives. But no likes, shares, awards or media appearances-lah.

Reference

My feeling is, making the best art I can in a sustainable and responsible way will probably have the most impact on my community. Because my work is likely only useful as a reference. But that’ll do.

 

 2. "And, and how to "balance" this with your own art practice?"


   * Context: This question relates to the difficulties of balancing personal artistic work with the demands of managing a community-focused project.

 

Spectrum, Not Binary
My way, if it can be called that, is to integrate aspects from my previous community engagement projects into my personal work to create balance. Because both give the other a sense of purpose. On their own, things seem lopsided. My need to play is tempered by my wish to include others. People can choose their level of engagement, but I’ve made efforts to meet them halfway. I don't do community focused projects per se, but my projects are somewhat community minded.

 

 3. "As an artist, I'm also curious how you document and archive all these conversations and fragments in your life + practice."


   * Context: Shu is curious about your methods for documenting and archiving the interactions and experiences generated through your community projects.

 

Play, Play, Play

I am not very good at documenting. Which is why I built my website only in 2019. My sense is I’m not fully utilising its potential. @yarimoriya and Dear Bev, are examples of playing with online documentation. Recently I created a personal Instagram account for casual, weekly studio updates. I hope it will be a useful archive over time, revealing things not immediately obvious. 

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@_gansiongking

 

4. "How do you find time to hold space and how does everything fit into all the different facets of your life?"


   * Context: This question pertains to time management and the challenges of dedicating time and energy to facilitating community engagement alongside other commitments.

​​

Less socialising and longer hours at the studio. Not sure if everything fits, but my superpower is to be by myself, working on one thing, for a long time. A friend said it’s a lifestyle choice.

I think there are overlaps. See 1#, #2 & #3.

 

 5.  "What makes the 3 hours you spent with the visitors/audiences at MPIE different from hanging out with someone in your studio?"


   * Context: Shu is drawing a comparison between your interactions with people during your project "Meeting People is Easy" and the interactions you have in your personal studio space. She's trying to understand the distinctions between engaging with an audience in a public setting versus a more private one.

Same Same
There isn't a big difference. Except during the open studio, I met more strangers. But the conversations are similarly candid. I suppose this is because I didn’t have a checklist of objectives to tick. Other than making my studio and myself available to the public for a month.​

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My Video Making Practice at Five Arts Centre, 2024

 

Clarity

But engaging an audience in public is different. I believe a certain truth or clarity about what I do only comes when I put myself in those situations. During the Q&A for My Video Making Practice (MVMP) at Five Arts Centre someone asked about the message, if any, of MVMP? It felt odd, because that’s not how I framed MVMP. It was meant to provide multiple entry points into a creative practice. But when asked, it became clear to me that I was in some way encouraging people to make or do things despite whatever. Don’t wait, because purpose and meaning comes from doing. 

 

 6. "What makes the 4 pieces of papers we share with you different from the ones sitting in your studio or the stationery store?"


   * Context: This question highlights the significance of the materials used in the project and how the context of the project might imbue them with meaning beyond their ordinary function.

 

Scarcity
There are only 4, which is mildly annoying. I would have preferred to be given more, but handing in only 4 instead. But I suppose this is part of this project’s creative exercise. Jadi, saya redha 🙂. But things might change in the next few weeks. 

 

 7. "What do you think?"


   * Context: This is a general invitation for you to respond to her thoughts on art, its purpose, and its place in everyday life. She is seeking your perspective on the nature of art and its role in society.

 

 8. "Whether it crosses to become art depends on whether it makes people feel (though I fail to articulate the nuances of feel what & how)."


   * Context: Shu is pondering the definition of art and its ability to evoke emotions and connect with people on a deeper level. She is grappling with the subjective nature of art appreciation and the difficulty of articulating the nuances of artistic experiences. 

 

Using and Meaning

There are a gazillion interpretations of art. “Good” or “bad” art are noises from these definitions clashing. I have little interest in a definitive definition. A working definition will do. Our opinions are tied to how we use art. Which will have differences and overlaps. And these intersections likely play a part in giving each other meaning. I think one of the strengths of art is its ability to be different things to different people at different times. A singular definition is not useful. I choose to focus only on things that are useful for me to continue making. Everything else are potential references.

 

A Prompt

So for me, good art is useful. Because I think purpose and meaning usually comes when something is of some use. Even if it only makes us feel, for a fleeting moment, better. Art, good or bad, is no different. I think good art functions like a prompt. Providing a space for meaningful self reflection. Where we can find our place in it. I remember seeing some very bad early paintings by Jackson Pollock, but felt touched and comforted as a young artist unsure about my own work. In a way, those paintings worked because pictorially they failed.

 

A Peculiar Thing

Emotion is peculiar and powerful. I don't think there's a feeling that only comes from encountering art. I believe those emotions can come from other things. In Malaysia, I think more people have that ‘feeling’ when in places of worship. This feeling that they are not alone, in this inexplicable experience we call life.

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Hello gais.

I received your letter a few days ago—thank you for your kind words about my work. It took nearly a week to arrive. Considering the timeline and my slow writing speed, I have a feeling our correspondence will be limited. But that’s alright; I tend to ramble and meander anyway.

Housekeeping
This is why I’ve decided to separate answering and asking you questions. Otherwise, it might become incomprehensible - I hope that’s okay. Also, I’m making a webpage to document the process. It’s a work in progress, so feedback is welcome and appreciated:

gansiongking.com/papers

I’m a "banana" and cannot read Chinese, so I cannot appreciate the nuances of the 2 characters you shared. But I like your take on the connection between our work, language, and meaning. I think art can be a hall of mirrors, with representations reflecting other representations. The influx of money in the arts has also shifted how we make and perceive it - not that I’m complaining.

I was discussing the 90s KL art scene with a friend. Back when there was a lack of infrastructure, market, expertise, and clear career paths. Almost every artist I know had a day job. Yet, artists, both young and old, kept making things. Sometimes, I wonder if I could return to that way of working. But I doubt it lah. I couldn’t have done even half of what I did if I had been making art only part-time. It wasn’t groundbreaking, but I’m grateful for that body of work.

To me, making art is one thing, but being an artist is something else.

What was your experience like being based in Singapore? How has Singapore’s ever-evolving art scene impacted your practice? I’m also curious why you’re interested in community building, sharing, and documentation.

Anyway, I need to get back to making things for this project. After the initial burst of effort, I haven’t worked much on it. Happy making!

Cheers,
Gan

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Project publication for Shu & Kirti

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Meeting People Is Easy

​Open studio project publication​

RM80 + postage

Click on image to order.

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Making an Exhibition, with Other People, and No Money, During a Pandemic

Project report for

All The Time I Pray To Buddha,

I Keep On Killing Mosquitoes

Free

Click on image to download PDF version.

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Google Doc interface

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I’ll (Shu) start by answering the questions you (Gan) shared in the email:

 

What was your experience like being based in Singapore? How has Singapore’s ever-evolving art scene impacted your practice? 

 

It’s very expensive to be alive in Singapore, haha. Not just in terms of the monetary cost of things, I feel like time and space feel scarce in a very overbearing way here. But at the same time, being small has its perks, it’s not hard to get to know people and be in the proximity of friends and mentors. 

 

It’s interesting that you use “ever-evolving” to describe our art scene in Singapore, I’ve thought of the scene we have here in many ways and never as one that’s in a constant state of change. But I guess that’s true– if anything, Singapore is obsessed with change. I’m not even thirty but some of the art spaces here which were crucial to expanding and challenging my understanding of art and programming are no longer around. I feel sad that I will never be able to step into SAM@8Q and climb the stairs to explore the exhibitions again. I caught my first experimental music gig at The Substation Theatre, and I can never do that again in this lifetime. 

 

Last year, I was invited by John Tung, a curator who is a friend and mentor, to be part of Re-Connect/Centre/Converge: The Arts Festival by The Substation, 2 years after our oldest independent art space lost its home. I remember looking at the logo on the artist's contract for this project and feeling so bittersweet, to be given the opportunity to engage with such a historically and culturally significant space as an artist, except the space has lost its space and the festival will take place in a makeshift venue in a carpark which would be redeveloped right after the show. All physical traces of my affinity with this space no longer exist. 

 

I think growing up in Singapore shaped me, not just as an artist but as a person. I am hyper-aware that not everything gets to stay, but at the same time, there are many opportunities to grow and learn that I might never get as easily and readily as a Chinese girl elsewhere. So in an odd combination of things, I started to hoard stories and look out for traces of how we learn and inherit things from the everyday. To be comfortable enough to spend time looking at the everyday is humbling but also comes with privilege. There is also a certain confidence and faith that our lived reality and surrounding environments have earnest stories in them–I’m thankful that despite being in a very pragmatic state, I get to keep this tender part of myself because I’ve been protected.

 

As a producer, being in a place like Singapore also made it easier for me to take on many different types of projects and initiate my own. We are small, so many things are easier to navigate and we get both 远亲 and 近邻(1) just one call away. I got to learn very quickly and generously how to do things and then be empowered to organise other projects. 

 

Oh, another thing that I think being based in Singapore has shaped my practice and many of my peers is… how we approach spaces and scale. I used to draw and make tiny things only, it took very long to learn to go bigger. It was only during my graduation project that I dared to make larger prints, and immediately after leaving school, my works were tiny again because I was worried I wouldn’t have space to show (and then store) them. I constantly receive feedback that some of the prints I make would look great, larger or blown up to a different scale. When I went to Taichung for my solo earlier this year, I was lucky to work with the huge (1000+sqft) and beautiful space at Yao Alternative Space. For the months leading up to the show, I constantly wrote to them and fretted about whether I would have enough pieces to fill the space, which amused my hosts, haha. Even the photographer I worked with for documentation was amused by how I ended up using every nook and cranny of the space. I think there’s a very severe case of space envy and fear of leaving spaces “unused”.

 

I’m also curious why you’re interested in community building, sharing, and documentation.

 

I guess community building feels like something very important as it creates spaces that are less susceptible to being taken away by the state and circumstances. 

 

Documentation is important because it helps us to remember something beyond ourselves. It also builds a database to learn, reflect and build from. Why do we keep diaries and take photos? In ways that echo your words on art, I think documentation is the raw material/gestation site for creating a sense of identity through traces of what has happened. It also fosters a larger web of shared identity and experiences, which connects people and makes us feel less lonely. 

 

I wanted to respond to some of the things you shared too:

 

To me, making art is one thing, but being an artist is something else.

 

What are some of the differences you see between the two and has it always been distinctive for you the same way over the years?

Since art school, I knew art is more than whatever that's in a white cube. … Wah…  I think most artists have a secret suspicion that their art is useless. Sharing my practice helps me find other uses for it.

 

Can you share more about this? Did being in art school clarify this for you or you went to art school with this clarity?

 

I also appreciate how you talk about uses for art… I once read about how great art must have no use in “real life”, and I struggled so hard to follow that argument. Why is it important that our practice is useful? Yet, making art is not the same as “real life” activities.

 

Room Temperature … I want inclusion to be more transparent and sustainable. More room temperature, so to speak. ... A community-focused project can be as simple as showing up and helping an artist friend with a task without expectation. The key is consistency.

 

Sedikit sedikit menjadi bukit, thank you for this reminder on consistency and continuous effort.

 

Questions

1. Why do you feel the need to frame your work as personal vs community-focused?

 

I guess this complacency of seeing personal vs community-focused might stem from always framing works that way when writing grants and marketing as a producer.

 

As an artist who works in the arts, I also struggle with how much time and energy I spend on “work” and my works. 

 

When you mentioned “community-minded”, I got reminded of a conversation with other friends who talked about how they make work for themselves but care immensely for their audiences. 

 

2. Who do you include in your definition of community?

 

This question is tough. I see a community as a group of people in proximity and whose actions affect one another. This proximity can be anchored in geographical distance, values and beliefs, interests, experiences or demographics. This proximity creates shared identities that implicate everyone’s actions, amplifying or carrying forward the good and the bad. So, there are different communities in every context and situation. 

Scarcity

There are only 4, which is mildly annoying. I would have preferred to be given more, but handing in only 4 instead. But I suppose this is part of this project’s creative exercise. Jadi, saya redha 🙂. And things might change in the next few weeks. 

 

Haha, I hope this creative exercise has been fun.

 

Using and Meaning

… I think one of the strengths of art is its ability to be different things to different people at different times. A singular definition is damaging. I choose to focus only on things that are useful for me to continue making. Everything else are potential references.

 

You mention “references” a few times, how do you engage/use references?

 

A Peculiar Thing

Emotion is peculiar and powerful. I don't think there's a feeling that only comes from encountering art. I believe those emotions can come from other things. In Malaysia, I think more people have that ‘feeling’ when in places of worship. This feeling that they are not alone, in this inexplicable experience we call life.

 

❤️

(1) 远亲不如近邻 (yuǎn qīn bù rú jìn lín) means a family member faraway will not be able to help you as much as a neighbour who’s just next door; but in Singapore everyone’s really close so you get both your chosen family and neighbours/community within reach.

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Gmail interface

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1. "To me, making art is one thing, but being an artist is something else. What are some of the differences you see between the two and has it always been distinctive for you the same way over the years?"
Context: Shu is exploring the distinction between the act of creating art and the identity of being an artist, and how your view has evolved.

 

Anybody can and should make art, creating art solely for ourselves is entirely valid. However, being a professional artist means, among other things, making a living through our art. This inevitably involves engaging with others, along with all the joy and trouble that comes with it - which is not something for everyone.

In the 90s when I graduated, the path to a career as an artist wasn't as obvious to me. For most, being an artist also meant having a day job. I worked on all kinds of things while continuing to make my art. Artmaking for me in those days, felt more like a special event. I’ve only been working full-time as an artist for the last decade. I am grateful because there are things that will only emerge when art making is a daily practice. 

2. "Wah… I think most artists have a secret suspicion that their art is useless. Sharing my practice helps me find other uses for it. Can you share more about this? Did being in art school clarify this for you or you went to art school with this clarity? Why is it important that our practice is useful? Yet, making art is not the same as “real life” activities."
Context: Shu is responding to your statement about the potential uselessness of art and how sharing your practice helps you find purpose in it. She's interested in your personal experience with this notion. 

It’s something that’s developed and evolved over the years after graduation.

Art (contemporary, visual) being designated the #1 least important industry during the Covid lockdown is surely linked to the perception that art-making is not part of ‘real life’ activities. When most people can’t find any use for art, it becomes useless. Just like how most politicians feel useless to me. 🙂 Although politics feels like a branch of the performing arts, and politicians formulate policies that directly affect our lives.


I don't have a solution to this infinitely complex problem. Maybe meeting the general public halfway by providing entry points could help. This might require adopting different strategies in how we present our work. Maybe we could start by using a more understandable language in describing what we do. When and where did we learn artspeak? Who are we speaking to, and for what purpose when we use that language?


But as with everything, learning to appreciate anything requires effort and imagination. So, my hope is the general public will continue to find the motivation to engage. Because things have certainly improved compared to 2 decades ago.
 

3. "Why is it important that our practice is useful?"

Context: Shu is questioning the importance of finding practical uses for art, contrasting it with the idea that great art should have no use in "real life"

I was referencing language, or specifically how we use words with that thought. The idea that purpose and meaning for words (and most things) comes from the context and how we use them. For example, the meaning of the word 'use' itself is determined by how English speakers collectively agree to use it. If enough people agree, ‘IDK’ can mean ‘I don’t know’. It’s common now, but 20 years ago, IDK would mean very little.

Similarly, in art, meaning and purpose is not always inherent in the work or practice. But arises from how it is used by different people. Each group interacts with art differently, yet their interests often overlap. Perhaps it’s within these overlaps that something becomes art.

Whether they are good or bad art is another matter. But again, that judgement is likely determined by how those ‘art’ are used. A common assumption is the higher the price, the better the art. While others may disagree depending on their purpose for engaging with it. So actually we use the word ‘art’ to refer to different things. And we’ve somehow assumed language is precise at all times. Language as a form of representation has its own logic and quirks and can be imprecise.

There’s also an argument that art should serve no practical purpose. I sometimes agree, but this idea is inherently paradoxical; the concept of 'no purpose' only exists in contrast to 'having a purpose'. Which automatically gives it purpose and meaning. As an artist, I recognize that the meaning and purpose of my work partly comes from how others find use for it.

Participating in this project is an example. And I look forward to seeing how you and Kirti will use my text and work. My hope is I’ll discover something useful for my practice by seeing it through your eyes.

4. "You mention 'references' a few times, how do you engage/use references?"

Context: Shu is seeking clarification on your approach to using references in your artistic practice

I think a lot of art revolves around representation, even when it’s non-figurative. Often, it seeks to represent something in different ways - an image, concept, emotion, motivation, narrative, research, etc. The appearance and meaning of our work are inevitably shaped by referencing or remixing other works or contexts whether consciously or unconsciously. Simply placing an 'object' in a 'gallery' inherently references all the other objects that have been displayed in galleries before. Although it’s transparent, without this contextual connection, the experience of visiting a gallery might be incomprehensible.

While some art might strive for originality, our visual vocabulary and contextual influences often shape even the most abstract creations. I suppose the most original works we encounter are those that use references unfamiliar or new to us. I’ve written an essay about references for another project, where I reflect on how the use of references in my practice has evolved from my student years to the present. I’d be happy if you check it out - just find somewhere comfy and a cup of coffee before you do.

gansiongking.com/ghost

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Hello Shu and Kirti

 

First, some housekeeping.

1. I've added my reply to the google doc.

2. I'll send out 4 works from the pool before the year ends.

 

O.K.

 

Oh yes, my impression is Singapore can be expensive. But the prices for food there is O.K, or maybe that’s because prices of food in K.L are inflated. Some hawker meals in Singapore are cheaper than K.L, which is mind boggling.

Older art collectives losing their spaces is always sad, particularly those that have experimental or progressive aspirations. But maintaining an art space in any major city requires so much resources. I don’t know how they do it but I admire the resilience of art collectives in Jogjakarta. One thing I noticed is their ability to renew themselves by cultivating new audiences and bringing in younger practitioners into their fold. Giving them responsibilities and involving them in decision making. I think the same can be said of Five Arts Centre in K.L, who incidentally, celebrated their 40th anniversary in 2024. In any case, maintaining a collective with proper programming is a full-time job, and something beyond me at the moment. I agree with you, a space cannot survive without having a community actively supporting it, and having some use of it. I think the same goes for any art practice. I can make art on my own but need the engagement of a community of people to be an artist.

I’ve had similar experiences with making smaller works. Practical consideration aside, I enjoy their intimacy and human scale. But a bigger scale work undeniably creates a stronger visual spectacle. I wonder if the rise of biennales, art fairs, and their equivalents has us all hooked on these fantastical spectacle. Which requires more and more resources to produce. So perhaps in our capitalist society, besides prices of an artwork, the best artists, curators, gallerists, etc are those that have access to the most capital.

I like the way you describe ‘community’. I think you’re aware you are not an island, although you’re born and raised on one, and you care-lah. Which is great, but people who care are usually those that suffer the most . Considering the amount of material we already have, this is likely our final email exchange for the project. So, thanks again for the opportunity. Do let me know if you need anything for the project from me. Take care.

 

cheers

Gan

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