Beauty is a daily battle fought in our hearts

1.StoriesLEEwen

“Stories My Father Never Told Me.” 2011

9 March 2015

two months past me by or did it?
did i?

the you and the i and the way time flies
it feels as if the i was not i but was i or had i been?
did you know him?

I’ll try and try and try
not nearly to be the same I but to take it further on
so I not I don’t bother I cause it is that further on up that road
the one i want the i to be when i get to be i

ok you think there’s too much i on my mind
but me oh mine that i is such a fleeting moment
self indulgence won’t help much cause
i won’t be i the next time you pass me by…
Anyway
Anyhow
see how….

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Ursula K. Le Guin On ‘Starting Late’ as a Writer

Longreads

LE GUIN: My mother had always wanted to write. She told me this only after she’d started writing. She waited until she got the kids out of the house, until she was free of responsibility for anybody except her husband. Very typical of her generation. She was in her fifties when she started writing—for kids, which is how women often start. It’s not threatening to anybody, including themselves. And she published a couple of lovely little kids’ books.

She wanted to write novels, and she did write a couple, but they never found a publisher. But what happened was that she got asked to write the biography of Ishi. Of course they asked my father and he said, No way, I cannot handle that story. He’d lived that story and didn’t want to write it. He wasn’t a reminiscer. He said, I think you might ask my wife, she’s a…

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Dead Art Daydream Action No.1

The year is ending, this issue is still outstanding. There is a stirring in my conscience that we begin to address the real issue here. The lawin regards to obscenity that should not pertain directly to art. Something needs to be reexamined here.

Republic Of Daydreams

I am license
…Or why I think licensing performance art is not necessary.1384143_10151750351011989_386293260_n

I made 2014 New Year Resolution that I will not present performance art in Singapore under the compulsory need to apply for a license.

2014 is 20 years after the event of Artists General Assembly (A.G.A.). An event held at “5th Passage”, the artists’ run space in Parkway Parade Office block’s fifth storey between the lift lobby leading through a concourse both that opens out towards an adjacent spiral car-park building. The event was organized by artists from the collectives, 5th Passage and The Artists Village. Taking the inspiration of the 24 hours TIME show that was held on new year’s event of 31 January 1989 to 1 January 1990, at the original site of Lorong Gambas, the A.G.A. expanded the idea to that of an eight days event inviting contemporary artists who were embarking on cutting edge or contemporary…

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Altar For Changes

Republic Of Daydreams

I had the honour of participating in “Intervene! Interrupt! Rethinking Art as Social Practice”, a symposium held in 2008 hosted by University of California Santa Cruz. The grand finale of the event was a green wedding ceremony held in the woods with a simple stage that was just simply beautiful in the context of the whole idea in itself. It was the wonderful wedding of three female what shall i call them “entities” for now. Elizabeth Stephens and Annie Sprinkle were tying the knot with their lover, Mother Earth! After the great turnout of friends and well-wishers giving their blessings by way of performances on a stage at the edge of the campus forest. It was certainly an unforgettable event that was so bizarre that I felt as if I had walked into a dream.  I was still reeling from the the buzz of attending the performance, a ceremonial celebration…

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I Kill To Sing For You –

These Broken Donkey Songs

ONE meddled with your soul
another sailed round you like a seal
and third as always was there beside yet not in sight
so ring them if not she will leave never to come here again
string them if not she will leave never to steer round clear again
sing them if not she will leave never to come near dear again
like a throne without a bone to stone
nor a screw to drew them out these brews the dodgers of curfew
if only you knew if only you knew if only you knew how the view to deal
few dew zeal in to reeling into real thrill on the periphery of the robin’s BILL
give give give give giveeeeeee give give give give giveeeeeee give give give give giveeeeeee
UUUUUUUUPPPPPPPPPPU!!!!
he teaches health wealth i side-stepped with nonwit humor.
played with thoughts on darkness sadness death badness in out of red black drained gain bane hades pain
that’s when i gave away my madness in exchange for my zack of gads bags of SAD AXES DANCES
made
© PSALMS ARMS PLANS!!!
Ω PALS ASSES POLLS!!!
º PALMS ART POO!
∞ POT AUGUST PASSES
∑ POTATOES AROUND POUND
IMG_0007

Altar For Changes

I had the honour of participating in “Intervene! Interrupt! Rethinking Art as Social Practice”, a symposium held in 2008 hosted by University of California Santa Cruz. The grand finale of the event was a green wedding ceremony held in the woods with a simple stage that was just simply beautiful in the context of the whole idea in itself. It was the wonderful wedding of three female what shall i call them “entities” for now. Elizabeth Stephens and Annie Sprinkle were tying the knot with their lover, Mother Earth! After the great turnout of friends and well-wishers giving their blessings by way of performances on a stage at the edge of the campus forest. It was certainly an unforgettable event that was so bizarre that I felt as if I had walked into a dream.  I was still reeling from the the buzz of attending the performance, a ceremonial celebration that not only spoke up for the individual rights to be different but also at the same time extended into an eco-consciousness by also marrying Mother Earth. As we were moving on to the reception and getting into queue for our food, I got distracted by seeing that a small crowd was surrounding Annie Sprinkle to congratulate her personally and was debating with myself whether to do it too as I’m a fan of her too. Instead I bumped into Elizabeth Stephens, and I felt it was equally “alright!” to congratulate her on behalf of the newly weds. I added the comment that I was from Singapore and I cannot imagine such a manifestation can ever happen knowing how conservative we are. Elizabeth gave me a smile of confidence and with professorial tone of voice said to me: “you have to fight for your rights!”. I was dumbfounded as in my heart I was thinking to myself “Man you don’t how tough it is over there” as I ran through an internal flashback on those years of  funding proscription against performance, and the licensing headaches we are subjected to and various battles against censorship we have been doing.

Altar for Changes

Altar for Changes

I have been making a series of what I call “romantic self-portraits”. I started drawing them as a response to my erased self-portraits in my solo exhibition “Lucid Dreams in the Reverie of the Real”. The erased self portraits at the same time re-visits the erasure of Willem de Kooning’s drawing by Robert Rauschenberg, were somewhat a tongue in cheek commentary of our society’s tendency to suppress individuality in order to prioritize behavior as a social group.

When I was approached to submit a work for the “Modern Love”, I was toying with the idea of a self-portrait as a rickshaw man. It was based on a charming old photograph image that a friend sent to me. We have been dreaming of doing a video project together of a day in the life of a rickshaw or trishaw man. And he has been sending me images of rickshaw and trishaw from time to time. So the romance of drawing my own self-portrait as a strong man with strong legs pushing the rickshaw of a gay couple dressed as if they were newly weds provided my chance to convey a message that there are still various issues in our society to be addressed.

As we face next year to be the 50th year as an independent nation state there is anticipation for celebration. In contrast to the triumphant mood of celebration the “Altar for Changes”  reminds us of the yet to be addressed outstanding issues in our society today that we should consider calling out for change.