GERALDINE KANG

  • CV/Contact
  • Peace Agency
  • Neither In Nor Out
  • Live-in (Mattress provided)
  • Aesthetic Screening
  • Left-Right
  • By unit of measurement
  • 2 Parts 2
  • This way forward
  • Of Two Bedrooms
  • By way of rhythms: Kenneth Tay in conversation with Geraldine Kang
  • As quietly as rhythms go
  • Under the guise of surface
  • This city by any other name (Would smell just as white)
  • Black As Waves, Half As Light
  • In the Raw
  • Select invited projects
  • CV/Contact
  • Peace Agency
  • Neither In Nor Out
  • Live-in (Mattress provided)
  • Aesthetic Screening
  • Left-Right
  • By unit of measurement
  • 2 Parts 2
  • This way forward
  • Of Two Bedrooms
  • By way of rhythms: Kenneth Tay in conversation with Geraldine Kang
  • As quietly as rhythms go
  • Under the guise of surface
  • This city by any other name (Would smell just as white)
  • Black As Waves, Half As Light
  • In the Raw
  • Select invited projects
Till death and desire (2015)
Elliptical frame, white zentai suit, dimensions 70 x 40cm, part of the Zentai Art Festival 2014
After performing for the camera in a zentai suit, I realized that often, the suit has a more profound impact for its wearer than for the attendant audience. Rather than rehashing the figurative spectacle or fetish image that zentai is so often associated with, I decided to explore the material capabilities of the suit, using its translucency and elasticity to call upon the internal meditative, erotic and abstract energies of the zentai experience.

A Rude Mass (2012) 
In collaboration with Joseph Nair, Tok Wei Yuan and Terry Wee for Lit Up 2012
Internal scaffolding, paper pulp, glue, spray paint, xerox transfer images, dimensions 2 x 3 x 1.5m
‘…the stone, in shape, is a rude mass.’ was how John Crawfurd, the second British Resident of Singapore described what is known today as The Singapore Stone.

A large sandstone monolith inscribed with 50 lines in an ancient, obsolete language was found at the mouth of the Singapore River in 1820. Accounts from the period recall the stone as being claimed by each ethnic group that lived in Singapore in that period, for its script resembled their own. It was destroyed with explosives in 1843 to widen the river mouth in order to better facilitate commerce on the Singapore River. The origin of the text and its content still remain unknown, and the only surviving fragment of the stone is on display at the National Museum of Singapore's permanent collection.

A Rude Mass is a site-specific re-imagination of The Singapore Stone for the impending return of Telok Ayer Performing Arts Centre (TAPAC) to the government. It is constructed in an approximation of the original stone's recorded size and scale with contemporary materials and touches. A new unknown text has been created in a possibly familiar script that consists of repurposed sourced photographs, photographs from our personal archives and new photographs designed and shot for our purpose. Too large to be moved, the work is expected to be demolished with TAPAC when the building is cleared to make way for new development.

Thank You to: Godwin Koay for the awesome spray paint job, Wong Jingwei for getting your hands dirty and rallying labour support as well as Judith, Clarence, Mr. Black, Pei Ling, Isabella, Zieg for pulping with us!