The Place Where the Laugh Laughs at the Laugh|Documentation

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Second Performance| The Place Where the Laugh Laughs at the Laugh‟
Yakuza(s) visiting an exhibition in Liang Court

Yakuza(s) elaborating their aesthetic theories that fills with foul-mouth and laughter irritability. They fall into discussions, questions and observation of art. A grumpy conversation in all its indulgence and trends — to creates a viewing experience that is funny, frustrating, overstated, and, ultimately unsettling.

In the first performance “I just want you to FEEL the FEELING I FELT”, the sneering voice of performer reverberated throughout the performance. Combination of growls, silent screams, scrapes, moans, drones and music as an aggressive attack against forces that misshape the individual’s psyche. The appalling reaction from audiences show a structure of repressiveness and shamefulness (due to a display of nudity of a Yakuza), audiences represent a suppressive individuals and a product of society. The role of the artists and the viewpoint of the individual are urged to become outsiders to escape mainstream conscription and prevail on pride in deviance and escape from shame. When art develops as a conversation, we viewers often find ourselves addressed in a particularly direct, colloquial way.received_10154156333890170 (The appalling reaction from audiences captured during the first performance “I just want you to FEEL the FEELING I FELT”)

Performers as Yakuza: Lyon Sim, Fuzz Lee, Kai Lam

Special thanks: Michy Witchy

“I Just Want You to FEEL the FEELING I FELT”

“I just want you to FEEL the FEELING I FELT”
Performing Remembrance X Experience Memory
In Collaboration With:
Performer X Chant: Lyon Sim
Music By: Kai Lam | Ghostscrawl
Composer/Lyrics: Digestion Machine & Underbelly

Joo Choon Lin Copyright © 2016

Lyrics of “I just want you to FEEL the FEELING I FELT”

How soft indeed the song of butterflies eating

I just want you to FEEL the FEELING I FELT like a butterfly- is flying from Flower to Flower(x2)
I just want you to FEEL the FEELING I FELT like a butterfly- is flying from Flower to Flower to Flower(x3)
I just want you to FEEL the FEELING I FELT like a butterfly- is flying from Flower to Flower to Flower to Flower to Flower to Flower (x6)
I just want you to FEEL the FEELING I FELT like a butterfly- is flying from Flower to Flower to Flower to Flower to Flower to Flower to Flower to Flower to Flower (x9)

As beautiful as the chance encounter of a PURPLE flying flower and a PURPLE butterfly in a PURPLE mirror

I just want you to FEEL the FEELING I FELT like a PURPLE Flying Flowers
The Flying Flowers
Are Butterflies in the Flower
The Butterflies
Are Flying Flowers
Flower
Flower of consciousness

Appeared before my eyes a young man whose presence made flowers grow purple as he walked passed in the garden

★_______________★★_______________★★_______________★★_______________★★_______________★

Gif-Performaning-RemembranceSpecial Thanks:

Hiroko Tanaka | Ameir Samsudin | Hiroyuki Hattori | Motoyuki Shitamich | Nate Eileen

Rehearsals “I Just Want You to FEEL The FEELING I FELT”

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“I just want you to FEEL the FEELING I FELT”

(Performing Remembrance X Experience Memory)

“I just want you to FEEL the FEELING I FELT” is a performance about how people and things are engaged in the process of remembering and to consider the role of material culture and the mnemonic effects objects produce on people.

In the first instance people act on things, and in the second instance things act on people, in a cyclical manner. Instead action or practice is interstitial to people and things; each is held together in and through action. Things provide people with the capacity to act and through action things and people endure. Things make people exist, and people make thing exist. Objects show traces of past events or memories. People and objects are engaged in the process of remembering, it is simply that objects provide the ground for human to experience memory. The activity of remembering that is bodily felt and senses rather than see it as a sign or information. It not that objects has memory but memory is embodied in the material through alteration, manipulation or even destruction.  When we destroy or throw things away, show an act of deliberate forgetting.  But it is the absence of once present physical objects that ensure remembrance. I will like to stress that the mnemonic character of material culture is promoted by the involvement of objects. The acts of remembering are performance by material practices and it depends upon the performative capacities of materials. The performance of remembrance is a means to come to an understanding of ourselves and others, through the practice of remembrance through engagement with objects, people are produced and identities are formed.

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In Collaboration With:
Performer X Chant: Lyon Sim
Music By: Kai Lam | Ghostscrawl
Lyrics: Digestion Machine & Underbelly

★ TRANSCENDENTAL SEASONING ON A SUNNY DAY ★

Group Exhibition | TRANSCENDENTAL SEASONING ON A SUNNY DAY| Serangoon Swimming Complex | Singapore | 3 July Sunday 9am-6pmposter swimming complex smaller size

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TRANSCENDENTAL SEASONING ON A SUNNY DAY

‘TRANSCENDENTAL SEASONING ON A SUNNY DAY’ is an interactive piece, a designed set of wearable and waterproof cut outs/stencils of sacred geometric shapes and patterns. Participants are encouraged to put on the cut outs on different parts of their body. Imagery of sacred geometric shapes will slowly imprint on the skin through the process of sun tanning. The body becomes an expression of creativity and to rediscover the sensations of our bodily involvement through artistic participation. It can also be seen as an interrogation of the body and collaboration with Mother Nature, the sun, which offers a sense of time passing and allow the participant to observe the complexity of our body.

In this highly industrial and consumerism society, the body is socialized through the routine of the working day. Workers, students and consumers, we are ‘clocked’ by a 9am to 6pm daily rhythm and regulated with obligatory working tasks. Many cannot meet the biological needs for the body, and have not yet recognise the biological body as a source of creativity and self-expression.

‘TRANSCENDENTAL SEASONING ON A SUNNY DAY’ anticipates a revisit or connects back to an imaginary primitiveness. The participants undergo the simplicity blissing from the sun and to be a living embodiment of vitality through a leisurely imprinting process of sacred images on the bodies, and also deeply inside their heart and soul.