INITIAL RESPONSE

This was the first thing you see when we stepped in the gallery. It was one installation that scream controversy and it has been seen a lot in this day of age creating sufficient awareness. The key word that struck me immediately when i saw it was 'pollution'. Clear waters but decayed waste was a strong contrast that caught my attention.

VISUALS

After the curator, Mitha, explained the work. She mentioned the artist collected the rubbish from the shores between Batam and Singapore. I was partially accurate on my initial response to pollution but the artist was also trying to show us there was a clear difference between Batam and Singapore. Even though Batam tries to models after Singapore and the controversiality of Singapore being the model city, there is a big difference in a lot of things. The message was clear after it was explained.

MEANING

The meaning of this was to showcase and bring awareness to the pollution that the shore has. To show the difference between Batam and Singapore and being theres are a lot of similarities the differences still is incomparable to the similarities. Personally I think this installation has been curated very well as it is being placed in front when we first open the door as an indication that our environment should be comes first before anything else and it will result in a lot more complications like political issue, health and the behavioural of the society.

RELATION TO OUR PROJECT

Ila, ‘Air Dicincang Tidak Akan Putus’, installation view at Objectifs, Singapore, 2017. 

‘Air Dicincang Tidak Akan Putus’ means “water that is cut can never be severed”.

The exhibition “Fantasy Islands”, explores the multiple relations between Batam and Singapore. The idea of “islandness” as a staged event, framed by the concepts of borders and desires. Curated by Kin Chui and Mitha Burdhyarto who presented works by 7 indonesian and Singaporean artists. Despite close proximity of the two islands, there is limited understanding of both places. 

What is interesting is the placement of the work in the exhibition (right at the opening of the door). Looking at the exhibition through the layers of glass within the box, it made me feel as if i am looking through a warped reality, immersing into the deep oceans of time and place. 

Like the surrounding sea, the fishermen in Tanjung Uma strive to continue surviving even though their livelihood has been affected since the 70s, triggering a sense of loss in the artist. The work, uses objects that have accidental washed up onto shore, mirroring the resilience and pointlessness of the struggles against time and tide.

The context of what you already know shapes the way you percieve and interpret the work. Objects are symbols, the condition of the objects (new, old, clean or rusted), where it is placed creates meaning which gives value to the work.

In the glass box, we see used and rusted objects that appears as if they had just rode up the shore. These objects seem untouchable, like treasures that were hidden underwater far from visible eyes. One may wonder who does the objects belong to : Is there a meaning behind them? Or as to what symbolism it may hold. Is there even a belonging? Are the objects seperated by borders of Singapore and Indonesia ? The ocean runs deep and wild like nature, unconforming to the restricted “borders” of the islands. When nothing really seperates two islands, “borders” are only temporary and changes in time.

IN RELATION TO OUR PROJECT

Edgelands are interstitial urban spaces that is concerned with places of “otherness”, alienation and longing. Pushing bounderies within nature and structure. 

BIBLOGRAPHY

https://m.facebook.com/SGArtWeek/posts/1868886593381776:0

http://www.straitstimes.com/lifestyle/arts/singapore-batam-and-the-ties-that-bind-in-fantasy-islands