A Black Square for the Little Red Dot

What is the time?

“What is the time?” Performance, 2nd DaDao Live Art Festival, Beijing,2004

The earth has been changing more than it normally would if she does it by herself without human interventions. It was not so bad in the beginning but the interventions have gone beyond certain limits of tolerance by mother earth. Mostly due to capitalists with power and greed to profit in larger and faster manner. It is up to us to take pro-active measures to prevent this from not only destroy the earth we live in but quite inevitably it leads to our self-destruction. I am not a dreamer so far fetch to see this happening. That the evidences are clear and we need to work together. However there are many possible ways. Just as many ways to detract from the question are even more destructive propositions that offer to address these issues but in fact leading us further astray. There is a need to take heed of the fallacious list of so called pragmatic solutions such as: 1) support the status quo and all will be okay, rock the boat and that is certainty of our own demise. 2) nuclear power is fastest way and new is clean and manageable 3) The military is most important to safeguard peace and security.
1) Democratic systems of representations are easily shaken out of its earlier intentions whenever it leads to centralization of power. It often seems when society get on in general terms of development, the creeping tendency of the centralization of power goes on unabated as the citizens are busy working on improving their own lot and circumstances. Our human heart has always been a battleground for good and evil. I need to keep check of myself all the time and I believe so does the status quo, no matter how innocent or idealistic they were in the beginning but the temptation of evil forces are at work all the time especially when we least expect of it.
2) There is still not a single good solution to take care of nuclear wastes even though they do have ways to hide them temporary. The problem is the more nuclear energy is produced and used the more radioactive wastes is accumulated and we have to deal with. I read time and again how negligent we have been and just one mistake may lead to great sufferings we never imagined could happen. One such example is the shocking news about how some ships were discovered by chance that had been sunken in the middle of the Atlantic ocean and were actually loaded full of nuclear wastes that presumably were taken up by some crook companies to be gotten rid off without proper idea where and how it was to be done and must have conveniently sunk the ship thinking no one will know since the radioactive wastes are all casted in concrete and will take years or centuries before they might cause harm. It had the nonchalant “so who cares?” attitude and as long as it does not happen in our life time. So the logic of safety in the newer designs of nuclear production is only as far as within our life time. But what about the time of our children’s children?
3) As I had said many times before the fact that we had two world wars and the guidance of traditions, religions, and wisdom of the minds who inspired us to its current sophistication and cultural manifestations, need us still maintain our barbaric animal instinct to kill that who is different from our own in order to protect our right to see the continuation of our traditions, our way of life? If there is a God/Allah or whatever name we shall call this higher consciousness, “ultimate reality” (as William James very well name it in comparative studies), surely human beings were put on this earth to celebrate the glory of life through the many diversities of language, culture and manifestations of a global ritual that is regularly set to the rhythm of the daily, monthly, annually animated natural cycles of the stars, moon and the sun through peaceful exchanges country to country, culture to culture, and languages to languages. not by the nozzle or barrel of a gun in the megalomaniac’s intention but by love that was the reason we were put here from the beginning in the singing, dancing, graceful manifestation of a consciousness seeking harmony and understanding as one heart beating joyously next to another without need for power to control the other by fear inducing actions and other destructive means.
I was introduced to artists from other lands first as a child. It was a large book amongst a pile of other books left to us when my father passed away. It was a colourful book of children’s drawings that was the main source of joy whenever I flipped through it. Somehow I still feel a thrill whenever I get a chance to talk about it. I imagine it must have been a kind of catalogue of an exhibition of children’s drawings from all over the world. Whenever I participate in international art events I often find that artists are naturally inclined to talk in very critical extremes and I realize that they often give a picture not so pleasant when we compare them to what we hear and read about in the mass media. It is not just a matter of self-victimizing in order to gain sympathy but an underlying worry as most of them are sensitive people who care about their society that they are more harsh than expected.
Added to that we want others to know the discrepancies we offer is not to put ourselves down but to share the knowledge first hand and remind others that we all live in a complex world that needs mutual respect and understanding. To be a good friend is to understand their pains and sufferings too and not only to celebrate joys and successes.



Longing for the Mountain retreat (with room service)

thought that things are getting better
how wrong
when the battle heats up to boil like broth
for dead chickens and screaming monkeys
the call to arms rang all day
in every ding dang dong dung
noisy purposelee wanto dig streets of singapure
buzy bobbee bochap for poetry only hot ok on moneeey
tell you no talking about demokrazee wait kena pantak kaya guyu then you jaga
go and art conference DaWu good ah know who is papa mama go back kampong
forget the long long mountain lah
how correct?

Just before heading for Hong Kong Art Basel I received the good news from Performance Studies International that I had been chosen to receive this year’s PSi Artist/Scholar/Activist Award 2014 to be presented in the next gathering of international performance studies afficionandos in Shanghai come July 4 to 8/2014 at the Shanghai Theatre Academy.
Unfortunately my tour de force with the good support of *Helina Chan, gallerist of vision and dare, and her wonderful staff of iPreciation Gallery, having presented one of the most favoured booths in this year’s busy and bustling Art Basel in Hong Kong, was scarred by a bizarre incident of being knocked out cold for a good 30 minutes during a quick leap to take a leak in the men’s room at the City University of Hong Kong after the end of forum on the theme of Art and Value, a subject that is of utmost import in my view that I had often wanted to address myself and had even proposed to speak at Art Basel Hong Kong concerning this subject matter. Well after all the big hoo haah i for want for peace of mind took a trip out to Belfast although my true destination should have been Cyprus instead.
However to cut a long story short I was not going to explain all and everything here but just to let me say one time that state of things todate, in short and quick sharp fashion.
1) I didn’t really know what was the cause of my blackout and I did not say for sure there was assault, although I did suspected it due to the many bumps on my head. Recently I asked some doctors while consulting them for other reasons. They all said it could have been or probably was due to my own low blood pressure that caused it. They all advised that men with low blood pressure have tendency to have the blood pressure lowering even further when they piss standing up. But what about the bumps in a row? It could be I was trying to get up and falling again and again.
2) I only said various things about the arrest of my friend in the song that I posted on the morning before i left my hotel room. But almost all the newspapers and news reported wrongly that I made the statements casting doubts on the legality of his arrest and suspect on the justice system of China at the forum itself. Whereas the only statements I said at the forum were made in general terms, just to ask if not acknowledge the fact that artists may sometimes make works more in tune with a change in our judgement of social values whereas outdated legal systems or laws of the past may till today be upheld in societies unwilling to update them in parallel with changes in our time and current human consciousness.
3) I did not bring my guitar to play at the art fair but was going to play in the evening at a friend’s pub. I made some indications of being stopped by my gallerist only in mischief as I thought she had been a little too concerned as if I was really going to play there when she saw me with instrument. (Sigh…I was just tired with others suspicions that are showing a mistrust in my ability to judge what is correct action)
4)The fact that I had no memory of anyone touching me or even assaulting me hence I should not even suspect it was a violent assault by any one at all, and now I accept the explanation from the doctors I spoke with.That it was a case of blacking out due to my low blood pressure and to be more careful and try to pee while sitting and try to avoid the standing urinals when traveling alone.
5) So I owe it to Cyprus that I tried too late to get a flight there and could only make it to Belfast which was not going to happen without the invitation to Cyprus. But well it was a rain check I had to cash since long time ago and it was goo surprise to even touch base with good old Andre Stitt unexpectedly he was at dinner the first evening I arrived. And to get to know Shiro’s mother was a bonus.

6) It meant I would not be able to go to Shanghai that I had wanted to but was fatigued to do so. Ray Langenbach made a speech in my place at the conference showing some video on my 24 hours buried to my waist in my back garden when I was living with my buddies in Seletar Army Camp on No.8 Oxford Street.

Nychthemer 2 Performance 24 hours X 2 duration November 8-9-1997 8 Oxford Street, Singapore

Nychthemer 2
Performance 24 hours X 2 duration
November 8-9-1997
8 Oxford Street, Singapore

Anyway I must say the twist of fate helped gave me much time and food for thought and reflection concerning my role as an artist in the somewhat orderly yet messy state of affairs in a rigid social engineered systematic development driven so called success story of dear dear Singapore.

For one thing the friends I come to value all showered their care for me not only by words but showed up in person with concern by dropping by to have eye to eye meetings and a good meal together that did fulfill a certainty of changing my attitude for neglecting the priority in food and sleep in my daily undertakings. At the same time I slowed down to the point of failure of what I promised and found that it would not kill me as much as my own physical need for food and rest would. But I begged to be given a chance to fulfill my promises with longer time frames and god alone knows a bigger budget would surely help.

Yes. But that I will describe in the next blog as i am need of a lay down at least some hours…

Shiro and his mother.

Shiro and his mother.

Dead Art Daydream Action No.1

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 practices in art making within the Singapore context to convene in exhibition, exchange and dialogue. The event was held together with self-motivated artists and responsible anarchy where we pitched together each other’s ability and when the sun rose on 1 January 1994 to the sounds of the trio, “Non-Sex”, led by under-rated musician Azmi Hassan that played their own take on “Shine on you crazy diamond”, it felt like the finale to a week long initiation rites to the Brave World we were all helping to create.

AGA brochureBut we had a shock of our lives when we got news of how the event was brought to attention on the front page of the tabloid which completely threw all our good intentions into that of suspicion and almost stereotyping our lot as rebellious enemy of the people. The  pandemonium added on as our inexperience at dealing with the media that seems to checked all our efforts to correct the negative image with slanted quotes and added to the confusion of artists as divided self-promoting individual egos. The recent exhibition of “Ghost: The Body At The Turn Of The Century” at the Sculpture Square curated by the courage and vision of it’s new director Alan Oei held at the end of last year, gave a plethora of the darker side of Singapore’s claim to fame as art centre of note this side of the Global Village. Amongst the stories most likely to be swept under any red carpets of shining Singapore Paradiso or the official utopian image of most propaganda media do is the work of the artist Loo Zihan. Loo changed his trajectory as a narrative documentary film maker into performance art, whose research for his Masters program at the School of the Art Institute of Chicago in 2011  gave us the re-enactment of the infamous “Brother Cane”. As a follow up he presented ‘Artists’ General Assembly – The Langenbach Archive’ a comprehensive survey of the archive material from the said event of 1993-1994 that allows us to look back with care again and it gave us much food for thought. A small group of us gathered at its closing on 31 December 2013. I came away with mixed feelings, asking myself a bunch of questions that still left to be desired.

There are many things beyond one’s control, and although you and i may know the facts are plain as the light of day yet sometimes  we would still find it hard to say.  For my love to speak truths for the people, for this society is as pure as I may claim to be as Wahab’s honey and yet when offered them forth it still surely to find some tongues tasting them like the bitterest poison as if they were verses from hell. Thus i  find myself going over my quandary and setting them apart to two or three sets.

1) Questions I can make a decision now and carry them forth as that is my insignia for the battle of the present state of affairs, the ground for my negotiation, and to invite my friends to ride with me. Full battle speed, like Andre Stitt say: “Either you are on the bus or you are off”, i welcome all passengers, young and old, short term or long term, even my enemies! But “don’t stand in the doorway, don’t block up the hall…”

To make the resolution I considered for ten years. In the first place I did agree to it for a good ten years, at least since we did go into it with our eyes wide open when the proscription on the funding of performance art was lifted in 2003.

It had been ten years after it was first implemented by the National Arts Council. With Tommy Koh as the Chairman, that had cast a dark shadow on performance art. It resulted in it becoming almost forever spoken here like a dirty word or in the same breath as any other inexplicable actions most of them of derogatory leanings arousing adjectives veering towards wrong doing, trouble maker, stupidity and non-sensical rather than the possibility of poetry and philosophy.

In fact, the question of having gone ahead with accepting the requirements of grantees to play according to the rules of the game was asked to me by one of the speakers in our very own public forum during Future Of Imagination 2, held at the Sculpture Square.
My contention was that: after weighing the pros and cons, I still think that there were pros that far outweighs the cons.
Furthermore, we had been knocking on the doors of the arts council for the past ten years, since the traumatic aftermath of A.G.A. in 1994. Now that they open the door I must enter although it may not be comfortable.

But I had from the beginning sounded out the problematic list of do’s and don’ts on the licenses and have said so before. As with my first performance in the first “Future Of Imagination” series of international performance art event that I had initiated and organized, I had the license conditions read out loud while I made my actions.
If anyone had taken notes they would have immediately find many of them have been broken by me already, although they may not be breaking other more serious laws per se.
Here my contention was and still is, that if that were the case, then the only need for us organizers and artists to do is that to observe the law; and not necessarily a whole bunch of other regulations that are too indicative of impossible controls that can only hamper our freedom to create, without over looking our shoulders every step in fear of being an offender ever before doing a thing. As a performance artist, I find myself stumped in my flow of imagination every time I stop to consider its legality. And worse still to host international platform of ‘world class artists’ embarrassingly I apologetically ask them to forgive my shameful country whenever I invited them. For my only wish is to show their works of purest creation. To ask me to continue after ten years of tolerating such humiliation can only mean I am willingly agreeing to partake in the Republic’s hemlock laced cup of poison offered to Socrates but here seen as due procedural necessity of civil decorum.

2) Questions that for the moment we leave them on the shelf but we must not forget they are there. The road to freedom and justice is a long road. We may not yet arrive at victory in our life time, but so long as we keep asking them and not let the cobwebs of greed and selfishness cover them up into oblivion, our cause is not yet lost although we may have conceded the battle. To me grand failures do not count. They only count if they are important to be in the memory shelves to be fought again when the time is right otherwise throw them out. For they only collect dusts and that is just decorative masks, not the real face that will last.

Looking at the evidence, as far as licensing goes, the A.G.A. event was licensed too and it did not prevent this to happen because none of us knew then that any law would be broken. To me even when looking back at Josef Ng’s performance, there was no crime discernible. There was nothing either intended nor actually could be seen or unmistakably discerned by anyone who saw the live performance, or even the video documentation.

As I understand from readings the justice system is implemented to protect the citizen’s rights and I am just by asking questions hereby asking for these rights to be secured for me as an artist who practices art and just as any other individuals who swears allegiance to the flag and the nation.
From discussions with many including artists and organizers involved in the event what transpired seemed to be showing us a different understanding that perhaps there were other considerations that led to it’s eventual notoriety, or even ‘clamming down’.
1) there was the internal security question of performance art being a possible threat to public order.
2) there was a need to slam down hard as the performance not only questions the news reportage of the punishment on gay behavior but also seem to advocate protest.
3) it was to keep at bey the propagation and proliferation of homosexual behaviour in Singapore.

Being a patriot schooled and imbued with the Rafflesian spirit, even though I call myself a born again hippie, I like to think that all these are mistaken conjectures that arose merely because those of us who are concerned citizens have looked closely at the evidence if not even seen the actual performance itself and cannot see any evidence in the presentation to have anywhere come close to something we categorically call pornography or an obscene action not even one that is erotic in a artistic way. The only close to fault if any, was that of the words being said by the artist himself to the effect that he was going to cut his pubic hair and after which it was done without any direct revelation of such an action. The artist then went to stand facing a far end wall from the space where the majority of the audience was. He showed a little of his buttock as he lowered them apparently to cut the pubic hair. He then turned around to walk back up towards the audience and put some of the hair down on the floor over some tofu. Then nervously looked around randomly and asked for a cigarette, as he probably was looking for a way to end the ritual. After a few puffs, in the silent tension he put the burning cigarette out on the square of his left shoulder saying the words: “Perhaps a silent protest is not enough.”

Clearly such actions all have nothing obscene about it and  would even add that even IF the artist had cut his pubic hair in full frontal view I would still not find any of these sequences of actions anywhere close to obscene or pornographic actions. However what some have explained to me is that the law says the act of cutting pubic hair is obscene in itself hence it is not necessarily have to be seen.
However should we not reconsider some changes after all if really the law on obscenity was supposedly meant to protect public decency and by all means some of us find it obscene by just thinking of it. But I believe ours is to be a sophisticated society that should be serving us all and not only those of lesser tolerance to actions deemed less commonly seen as normal. Especially when performance art is now accepted officially and the fact that it could be re-enacted by Loo Zihan in a theater ticketed event all the more added more reasons for us to review and to recast it again.
Otherwise I shall remain an artist of shame for I carry in my heart an allegiance I had pledged to a society that I believed in the possibility of a system of justice that protects us all. That includes creative thinking individuals who speak up for the suffering of others in poetic actions, in provocative actions that may include the unusual use of the body, situations in public interactions or agitate in purposeful confrontations but still allowing, nay, in fact demanding each and all in the audience to decide with responsibility what is the correct course of action, but in fairness let the artist be free.  What Josef Ng did in 1994 was indeed just that. He courageously spoke up for the suffering of others by innovative re-inventing the new language of performance art with sensitive responses to local contexts. We punished him, and also the artist Iris Tan, who merely took the blame as she was handling the admin work. The way I see it today, I am equally responsible and I am equally guilty for their crimes if at all any crime was committed. I am proud of Josef Ng for what he gave us and Iris Tan who suffered humbly, quietly, a duty-bound giving us her name and time as a service to art and artists, forgoing her own chance to also be directly practicing as one. (I know Iris well, she was glad to contribute her hair to my A.G.A. cupboard installation but I remember hearing her talk to us working on our installation where I could detect a subtle envy beneath her humorous words of encouragement and praises to our work. She sacrificed her own artistic inclinations cause somebody needs to do the paper work and she got charged and found guilty for it and no one even bothered to call her after)

And no I don’t blame the government. I don’t blame the P.A.P. and don’t mention my mother but I blame my country. Yes I am still ashamed of my country. And this country includes you and me. A country who put good art and artists on trial and make them criminals. And now after 20 years say let’s move on!, the world has changed.

Not yet changed as it should if you ask me!!
But it should.

AGA Opening

Joy of Living

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

Look for me in the sunrise
while I sing to the sun set in the east
I wish you good morning while I lay down to sleep
this dream of life has no chance for peace
baggage to rid and yet cravings to keep
with these weary bones I hobble
its my form to function as a creep
To catch your dreams to fill my hollow.

– “Joy of Living”

September of year 2013, I was invited to Saitama  for a residency in an initiative that is run as a non-profit organization called “Contemporary Art of Japan”. As I was riding on the bus from the airport into Saitama I reminisced to when I first stepped on Japanese shore was in 1994 in Fukuoka where I was invited to participate in the 4th Asian Art Show. So it has been nearly 20 years now.  I ran over the past years and back again several times in my mind and tried to figure out what I had been doing in this life.  Images and nuances of a dream that felt like a lifetime or a book? But maybe just another song, an anyhow blues song. or a fairy tale perhaps…not one but a myraid of fairy tales of different origins,  that overlap and become difficult to decipher which is which and told by whom, but all have some facet of truth in it, not only facets but actually these days i find it fascinating to look again at the complex life that our mixed up world seem to be entangled into an hopelessly immaculate Gordian knot.
IMG_0175         And yet each and every one of our lives may only be lived at once as an individual one.  After all we may also find that the only way to approach and enjoy this chaotic confusion we call life, is by savouring each and every passing moment that adds up into the minutes, hours and days that we inevitably need to fulfill with enough work and rest, that make up the 24 hours of one day at a time. These days that passes as the sun rises and sets will come to add up into 365 and a one quarter come what may, totalling up to make a year. And as the years passes with the revolution of the earth circulating round the sun one full circle each year one’s life when lived in conscious effort at making a direction of changes for the human revolution may be seen as snippets of fairy tales that when told perhaps by the learned ones we call academics and historians end up as history and milestones of changes sometimes joyous as they liberate our human condition whereas sometimes may be painful and tragic as they perpetuate the suffering of the weak and enslaved to the dictates of powerful and selfish despots and tyrants.newMoon
There’s a new moon in the dark sky
Like a yellow boat I long to ride
Across the milky ocean like the sailing gypsies
Roaming homes in kingdoms of one man islands
Outside the self-doubt of a velvet prison
free from Gordian tangled knots of accursed shares
Drifting like the weightless clouds
Above and away from the tear-stained bleeding heart snares
I maybe a romantic but I find my role as an artist coincides with that as an agent for revolutionary changes, without any need to partake in other activism but to act and be motivated as an artist carefully considered line of actions at crucial pacing with other moments of social change, responding to the daily occurrences of current state of affairs, is enough work. In fact a hell of a task in the complexities of today’s world as such that to take on other intentions of activism will shore me on the other side of life ie on that of hades.  Everyday is a struggle as I find the strains of individualism an extremity that make us lonelier souls, less we understand where we stand and not be confused by the need to make conscious efforts to keep abreast with the external changes of the social structures, the technological inventions, the resulting variable distances of personal contacts upon engagements continued with impersonal methods of communications. We may easily jeopardise all the advances of secured freedom over decades and creeping years of gradual emancipation as our preceding generations with gaining consciousness realized the need to break from old entanglements of power relations based on religion, political and other ideological constrains necessitated by the human need of unity to function as a social group; a society that was held together by old power structures be it law, government and capital or economy that distributes the energy that supports life of earth find the increasing demands of free individuals a threat to maintain itself as a strong fabric in one piece if the freedom of individuals actions and inabillity to advance cultural work for gradual liberalization but instead lead to further fragmentation.
More often than not it is to learn to speak to each other with greater trust and belief the other is genuine to the cause of indeed redemption for all. If we seek out any tyrant or dictator and interviewed or questioned them for sure they will tell you that they are trying to help society and what ever you may deemed to be atrocious evil crime against the people were actions implemented for the good of society and humanity at large. As for artists as individuals with our varied histories, cultural, linguistics and personal backgrounds permuted further with difference of intelligence and characteristics not to forget sexual orientations and other human inclinations that may also be too extremely alienating and deviating from the norm. And that includes fanaticism for holding on to outdated rules and regulations or even religious beliefs if you ask me as after all not everyone in this age of post-post-modernity are able to deal with the freedom that is there for us to manifest even while living in restricted social structures. If we knew what we want we will find out how to get it. Whatever prison one is incarcerated in with proper understanding the walls of the social prison may be not that impossible to break out from. However most of us do not know what to do once we are outside and  possibly enough to drown the unprepared, and those who only recently encountered differences of self-transcendence that our age of philosophical inquiry has attained via the new sciences such as psychology and sociology that built on the ancient religions and other knowledge of cross references and multi-disciplinary studies.
Those who claim to adhere to systems of control for the sake of peaceful coexistence often forget  to include the consultation with those who are already walking the streets daily free from these shackles but expect them who are already free to continue to wear those shackles when they enter the common social spaces and arena or places of common human rituals that are over-lapping and lagging behind in out-moded anachronistic structures that no one cares to review and update. After all they may still be usefully manipulated to serve the powers that be in the guise of justice yet serving other purposes of maintaining conservative demeanours of conformity.
One may of course in the beginning take it calmly as humane kindness tend to accept the mistaken notions of strangers in order to befriend them and with familiarity we begin to let them know that our participation in such behaviour actually insults our dignity and we would like to be excuse from them and if only the other could learn to tolerate our differences, if not even participate and enjoy our lives together in freedom.
So in our history we had been cowered into asking permission by license and submissively provide details of the intended manifestation of a genre of art that encourages spontaneous improvisations, inspired moments of fresh creative presentations based on impulses, that sometimes arises by way in reaction based on the unexpected gestures and responses in live audiences’ interactions. As an experienced organiser I must admit that the liability to break the law in holding a license with that long list of restrictions far outweigh that of maintaining propriety.


Schrag Carl. O. – The Self after Postmodernity, Yale University Press, 1997.

Young Alison,  – Judging  the image: Art, Art, Value, Law (Transformations) Routledge, 1995.


Look for me in the sunset
rising out from an old bag looking for a mended vest
Try to have another good time, another chance for another test
I’ll match your youthful verve your joy of living
All your rigging and stone throwing babel
To keep up the petition against all them sanctions
Time to get off and re-assemble
Before they stop us at the twelfth station

I’m not the one who you hated me for
In forgetting what was only kills knowledge learnt
to return to review to react to remember
Dear friends and loved ones still dwelling in déjà vu
The dancing years passed so fast if only we knew
How suddenly we’ve became old
those were the days my friend
When real was real and time stood still
When real was real and time stood still …..and never end


Open Letter to the Nation of Josef Ng’s

3 Generations

He lives in Shanghai now
and he’s doing fineHe is a man of dignity and understands
about art and money better than most of you and me
i met him in the Shanghai gallery that he runs recently.
A stately gallery on the bund with a team of well educated ladies fluent in at least two languages
Well done Josef!! but
i can’t say if he is happy but he’s doing fine
in fact more than fine
cause he knows where to draw the line
the lines that draws blood
the lines of power and judge
the lines that speak from the artist’s heart
the lines that break the law and mother’s heart

“hey lee wen “, he gave me a line i will never forget,
“tell them i am fine,
i may have broken the law
but i did no wrong.”

he is fine dear
my dear nation of Singapore
a nation of fines
we lost a man of honour and sensitivity
an artist whose actions shook minds and hearts
asked questions of care and concern
intelligence and fair comment
with actions performed with unrehearsed theatre
of spontaneity in authentic plainness
real life in situ no need for skill nor dramatic art
what did we do to him?
it was 1994
enough enough
let us redress this error for ever more
he did no wrong
an individual of rare courage so strong

he dared to speak his mind while in silent apathy others watched on
did he really break the law?
must there be judgement based on the parallel of equations liken to math and algebra?
for are we not human homo emotional and, sapiens who knows what is what and what is not
what we saw were actions that knowingly knocked on questions hard and sore
surely not even a hint on erotic score?
surely non of obsessesion of flesh nor eros call?
surely the law is more than words on a page of thy holy queen long past their prime over our nation’s land and door?
surely we have come this far in higher consciousness and expressing our humane need to be of even higher heartfelt passion for our fellow beings even strangers in pain and suffering.?
surely Josef Ng’s actions were those that shook us for only our passionate return to those in need of redemption
when did he go wrong ?
where is the flaw?
it is now 20 years and 300 odd from when the queen gave nay pressed upon us that law
and surely had application not towards such a noble ritual that came forth on an eventful night of celebration

that our nation has arrived with the future
possible sons and daughters of hundred flowers
nay, a  hundred sunflowers on one trunk
shall we not embrace what may be our rightful fortune of brightness
and cheerful pleasure yet to come
if only our hearts were open
that we should receive such genuine touch of risky edges of precocious flashes
instead of fearful thundering guns and canes
heavy insistence of absent intentions
to take aim and blame upon
Josef Ng
He is an artist
He is now a director of an art gallery in China
a human being with inquiry and responsibility
he is an important son of Singapore
with him i wish
with the future generation i pray
with the present optimism i want
to live on this land this home this nation
my nation in pride to walk in stride
with integrity and say i do yes i do
live in a fine country and people

maju lah!

Lee Wen
3 August 2013

Open Letter to S.T.

in response to
“Why show Brother Cane again?”
The Brother Cane re-enactment should not be allowed. (Cane: Re-enactment Draws Debate: Life!. Feb.16).
Cutting pubic hair again? What is it trying to show?
There is absolutely no meaning in performing such an act. It is so silly, weird and crude.
Performance should be something that one can enjoy and not cringe with embarrassment when watched.” - Pek Li Sng
The Straits Times, February 18, 2012, page E8 (life! ;mailbag)
I was going to answer the quoted questions with just 4 words: “Because it is art.” although I would prefer to answer with 5 words: “Because it is good art.” But that would mean I need to write a longer letter and fear we do not have time and patience for it at this moment.I am bothering to take my precious time writing this letter in response to Pek Li Sng because I had an interesting hour yesterday talking to students on invitation at the School of the Arts (SOTA) and would like to share the experience in view of these questions. I was nervous and apprehensive and maybe 10 minutes late for the talk and walked into an auditorium of applauding students aged between 15 to 17.  The warm welcome took me by surprise. Apparently not all Singaporeans see performance artists negatively after all.

Giving them a run down of my work primarily working in performance art, squeezing in my personal philosophical take on approaching it from painting based on a comparative study between Chinese painting and Western art of self-portraiture. As quick and swift as a staggering man with Parkinson’s disease shaky fingers could managed the slides; I ended with my contention that performance art is equally valid in Asia, not merely a borrowed or imitation of Western opulence or outlandish individualism.

I worried on my way to the school how I should frame my 1 hour talk to such young students whose faces shone with innocence they glared back at me brighter than the fluorescent lights in the auditorium. With relief I self-consciously skipped my slides of nudity in some of my performances with the excuse of lack of time. But my worry of having not being able to communicate a complex subject that usually required longer time frames to get across less informed public or young audiences were laid to rest when I was inundated with intelligent questions I never quite expected in Singapore.

Performance art is a language of individualism but it is part of our history just as much in Asia as in the west. We may have come from a different side of the spectrum however we are on the common rainbow of human cultural evolution that is still going on and may only halt if we fail to take measures to overcome this crises ridden world by not heeding signs of straining needs of change and growth. The failure to allow changing behaviors due to evolving consciousness is  just as important as other more apparent contribution to our survival or to avoid impending extinction. Our culture in the east frowned on individualism favouring group oriented social behaviour. It is reflected in our language as idioms like “knock down the nail that stands out” or “a camel in a sheep’s pen” discourage uniqueness and overt display of any extra ordinary or non-conforming opinions and deviant behaviour. It may be good to ensure the interlacing social fabric to gain strength and intensity however it discourages leadership and creativity or even risk taking that are helpful if not utterly necessary for enterprises and entrepreneurship to grow and develop.

The studies in social sciences such as sociology, anthropology and psychology  show how the leaders in shifts of cultural behaviour were often seen in the beginning as anti-social disruptions to accepted norms but later may gain wider approval or even be installed as a new status quo that may then be again dethroned by later deviant directions seen as innovators for those who supported them. Our traditions today were once also deviating from previous social norms and need to shift with later generations either renewing them or updating them to changing social values.

Looking at the revamped educational directions in Singapore regenerated my hope. As our society seems more entranced by prestigious art from either well recognized internationally famous foreign stars or less expensive regional South-east Asian artists who are able to produce with comparative advantage due to lower costs of living. Even after gaining support the need to keep abreast with bureaucratic stringencies of licensing checks and censorship controls not to say contradictory pursuit and keeping track of the dissemination of arts funding drains our once organically inspired creativity and spontaneity.

Although I had often articulated the qualm that our much heralded plans of making Singapore a hub of art and culture lacked credibility unless the tertiary institutions showed more interest in serious study and research of art and cultural dimensions. The recent attempt in allowing young students to specialize in art and gain knowledge of performance art at a tender age of 16 is a huge leap of faith from where we came from in the late 1980’s with the oft misunderstood initial raw performances of Tang Da Wu, Amanda Heng, Zai Kuning and Tang Mun Kit during the gung ho days of the Artists Village in Jalan Ulu Sembawang.  The eviction gave impetus to homeless artists to seek  co-operating with various who had resources in using urban spaces. Mean time the younger artists emerged like Josef Ng who brought new energies that gave new perspectives and scathing daring untested strategies.

The event at 5th Passage was another step up the evolutionary process as the young women heading it Suzanne Victor and Susie Lingham had enterprisingly connected with management of Parkway Parade to use a space under-utilised yet easily accessible to city dwellers. They were able to connect with managers of businesses to help the experimenting iconoclastic artists doing what would usually seen as “silly, weird and crude” to be accepted and discussed in fact served as research what the academia did not offer. Due to the outcry of a misguided cultural officialdom our efforts at creating an event to regain community in the contemporary time of artists heading towards fragmentation in disparated individualistic directions for individualism that is not necessarily detrimental to our society were judged unfairly as a threat to internal security. It was 1994 just twenty odd years ago.

After my talk at S.O.T.A., I spent another hour fielding enthusiastic young thinkers asking mature sincere questions beyond the short heavy handed closed questions or statements of Peh Li Sng. Such short but crisp utterance smacks of authoritative intolerance that shows our intention to be a cultural hub of sophistication need some loosening up if not more soulful interventions beyond that of monetary investments. Instead of condemning such laudable work not only of the artists but the organizers of the event we should take pride that artists expressed themselves in Singapore in unique relevance with compassionate sensitivity and well studied research to express human emotions of pain and suffering in sympathy to fellow human beings in our society whether past or present.  Under the production of a festival organized by The Necessary Stage continuing the pioneering efforts of 5th Passage in urban strategies, using corporate finesse to re-instill community in a fragmenting society, Loo Zhi-han performs tomorrow in a new rendition with his personal take revolving his life based on meticulous research. Within it he is re-enacting Josef Ng’s performance of ground shaking historical interest that it reverberates in us so strongly 20 years later.

We have gained a new consciousness that many other countries took longer to attain if not still struggling with out-dated ideas. This moment is one of Singapore’s unique cultural historical milestones. To some this may be profanities best unheard and buried however for those who follow cultural turns in history with objective scrutiny may instead find it a sacred qualified blessing. That is why we want to see ‘Brother Cane’ performed again and again for we have learnt to see that his was an act worthy of art. We have learnt to appreciate performance and would not cringe with embarrassment even if pubic hair was seen and cut for we only care to empathize with higher levels of compassion.

Hamlet as bad comedy

in anticipation:

By Loo Zihan
Sunday 19 February 2012, 8pm
The Substation Theatre
Admission: $19 / SOLD OUT
Rating: R18
This event is part of the M1 Fringe Festival 2012: Art & Faith

there will be stupidity
there will be wrong actions
there will be setbacks
there will be maladies
and self indulgences
and if we are lucky some old classic acts of god
unforeseen chaotic shakes as reminder that fuel status
to overcome regular support when needed

breathe in ……….out ……in……..out

The only problem I see with the presentation of “Cane” on this Sunday is that the people involved have such strong sense of justice, fair play and serious propriety that they are not even letting one person in without a ticket. As many had requested privileged entry based on friendship, scholarship, sponsorship, kinship, keenship, association of academic or political and other professional interest that will be of advantage to the production itself and no way will they budge a nano inch. And I totally agree to its observation of fairness in order not to upset anyone of them but it is a big mistake not to allow just one more person in: me! Haha!..only kidding.

That is probably on most people’s mind that approved of Loo Zihan’s courageous stake at playing a role I consider of utmost urgency and crucial timing. For those who consider this to be a worthy work of art also find it just as important to be there to witness it. For good works need a good audience and we who were slow to react to news release can only pray that Zihan be blessed with an audience of serious intentions with conscious and critical objectivity as much as he appear to be in his daring decision to assume the difficult challenge. It is necessary that artists inevitably partake in order to reconcile the neglected if not invisible contradictions and tensions prevalent in our seemingly harmonious society. Why would anyone put himself in a position of such torment that most would dismiss as false ambition, distorted direction or egoistic vanity? It seems to be finding one taking up the role of Hamlet only to find playing it to an audience that saw it as bad comedy. Delivering all the vexatious lines of human tragic dilemma only to be misunderstood as ill-timed punch lines of unfunny jokes.

I find it hard sometimes to understand how so many who I consider would be very in touch or in tune with the scene are showing disapproval. The negative reactions began when the performance was announced in late October last year that resulted in the tickets being fully sold out the same day. Perhaps the sleek marketing and timely publicity the organizers choreographed so perfectly consternated the performance artists being mostly from disparate individualistic visual arts poor cousins to the theatre companies. The success smack not only of shameless commercialism if not complicit partners of state propaganda but perhaps such emotionally charged opposing views may also be due to envy for we have yet to learn to accept the marketing trends and only find the media as monsters of ignorance and servants of state propaganda.

For those who have struggled in upholding the much misunderstood form of performance art through the years of exclusion from funding and ostracized pariah-hood the news not only aroused memories of trauma but also unjustified discrimination and reversed glory to a rookie who snatched victory without deserving it or claiming the fruits of labor or reaping the harvest without lifting a finger to sow the seeds.

At the same time eye witnesses present on the actual infamous event that the original performance took place in 1993, would have difficulty to have faith in the authenticity of such business like management to have any possibility of re-enactment. The event had a playfully grand name, “Artists General Assembly” often called A.G.A. pronounced like agar agar the sweet black grass jelly, a favourite local thirst quencher in our tropical heat and as an acronym sounded like A.G.M. a call for artists of all disciplines to congregate for 8 days in annual discussion, exchange and collaboration, but not only meeting but something grander; an assembly from Christmas Day to New Year’s Day. It was a trajectory from the 24 hour TIME show mooted by Tang Da Wu, the last event held in the farm site of the original Artists Village in Sembawang before we got evicted.

It was put together by self-willed artists working together despite differences of temperament. The artistic directors of 5th Passage, Suzanne Victor and Susie Lingham steered artists into the corridors of corporations by infiltrating the 5 th storey passageway between the lift well and the multi-story car park of Parkway Parade Shopping Center. They were quiet motivators who brought us together, without knowing helped us to co-operate and spontaneously manifesting responsible anarchy for the sake of art. In extending the 24 hour event to embrace the new year, Suzanne and Susie brought the idea forward and led us further for the 8 days into working and asking for more serious approaches and exploring new directions in art and culture in the hope re-generation of community. There were not only visual artists, but innovators and practitioners from music, theater, dance, poetry, literature, and unfortunately probably the secret police too.

Josef Ng’s performance “Brother Cane” was one out of a week long event of various performances. There were many memorable works done but his was one that made us held our breath, raised goose pimples of compassionate concern for those discriminated against yet sanctioned by our laws. It called forth our passive souls to be activate beyond that of creative expression. A threshold we did not yet consider crossing but the actions of Josef Ng’s shook us into deep sympathy. We may have been innocent and naïve not to know the serious consequences and that the law of obscenity was transgressed but our concerns and passion were purely artistic ones and in fact laudable desires to help build and maintain a home for a society fragmented by the influx of globalized financed plastic culture of mass appeal prosletizing supermarket consumerism. The dialogue and discussions were initiated in the hope of re-aligning our new possibilities of engaging the community of diverse creative energies that were dispersing in different new directions.

As the sun rose on new year’s morning the distinct guitar wails of Azmi Hassan playing a rendition of Pink Floyd’s “Dark Side of the moon”. It sounded different, some notes went higher than the original. All you detractors of re-enactment and authenticity may doubt the originality of Azmi’s playing. But to me it was real enough to have achieved the immortality in my memory bank as the eight days A.G.A. brought us across universes and landed us on the dark side of the moon without knowing it.

Loo Zihan was 10 years old when we made that happened with the feminine impulses of two women who envisioned bringing together disparate, splintering artists together into one home and so that we may sing our own songs. Yes, we need sometimes to carry on by singing the same songs or return to the acts recorded in history even if we knew the time, the place, the people have changed. What had not yet changed and still remain needed to be addressed again and again. After all the investments made in this society into art education, infrastructures, mega art fairs and exhibitions, art collections have we not yet learn to differentiate art from smut? Do we trust the secret police report more than the art experts or social scientists and still suspect good intentions of artistic acts of building home and community engagement as violent destructive plots to instigate public disorder and organize chaos?

What Josef Ng did was a good work of performance art and not obscene and therefore should not be seen as criminal. If I may speak as an empirical observer what we saw certainly did not had the slightest notion of pornographic intentions. If we charge a man for obscenity knowing that the definition of obscenity was derived for the need to punish those who partake in acts of pornography that still goes on today. Whereby I bet even that secret police who squealed on us probably had seen and would very well be able to tell the difference. And yet punishment is meted out on one who is clearly not involved in pornography but a compassionate expression of humanity we must ask ourselves again and again what Josef Ng asked in his performance, Not because we want to be the same again, that would be nostalgia. Not because we wanted to gain in fame by riding on another’s name, that would be narcissistic and vain. Certainly not because we lack directions or originality, that would be self-defeat and in fact the only real crime here.

The Straits Times 23/11/93

12 men nabbed...The Straits Times 23/11/93