Calendrical Systems for the Afterlife

DATE        2019
MEDIUM      Mixed Media Installation; Two movable shrines composed of plywood, steel rods, bells, yarn, rope, cloth, sandalwood chips, incense, clay effigies, fragments of handwritten notes, old calendars and almanacs, benzoin resin, snakeskin, electronic trash, debris from construction sites specifically houses and buildings that have recently been demolished.

2219: Futures Imagined

26 November 2019 – 9 August 2020
Art Science Museum, Singapore

Actions for the Earth: Art, Care & Ecology

2022 (Forthcoming)
A travelling exhibition curated by Sharmilla Wood
Supported and produced by Independent Curators International, New York

Review of 2219: Futures Imagined︎︎︎

by Sara Lau, Art & Market
What are the ways we map out certain non-conforming names and bodies that defy easy translation or interpretation? How do we memorise and memorialise all that we assume matters, especially those that fall onto messy overlapping timelines and cycles? How do tell old and new stories on time travelling, unresolved memory, shapeshifting translations and other haunted historiographies? In domesticating doubts on the complexities of oral histories, fragmented cosmologies, cosmogonies, genealogies and the acts of remembering the ghosts and monsters, ancestors and gods that inhabit the ruined landscapes of the anthropocene, what shrines, gaping holes, shallow graves, markers for these afterlives do we create?
Composed from archival fragments, speculative histories, embodied experiences, folkloric narratives and shapeshifting conjectures, this installation speaks of and to the mythologies, astrologies and cultural naming of final rites, of peculiar phantoms, of ruined/renewed landscapes, of animal forms and plant names and the spirits attached to them, of seasonal winds and rains, of ownership and custodianship, of territory and terror, of time and future ghosts.