群展 Objectifs 摄影与影像中心，新加坡
展出黄晨晗《径。十一，盲》以及 Marc Nair 《Side-Eyes》系列作品
2023年11月9日至26日
Objectifs 摄影与影像中心 一楼1号与2号展厅
免费入场
Path. 11, Blindness by Boedi Widjaja
In January 2020, Boedi Widjaja was commissioned by the Exactly Foundation to look into Smart Nation, Singapore’s digitalisation drive. The pandemic that followed pointed him sharply towards the invisible, the unseen that nonetheless marked us deeply. Amidst the uncertain period of lockdowns, accelerated technological adoption and mass mRNA vaccinations.
Boedi contemplated notions of invisibility and impalpable intensities. He worked with cosmic ray muons as material, and his research culminated in experimental photography and moving-image projects: Path. 11, Blindness, Path. 12, River Origin 浪淘沙 and Path. 13, Quaver Cipher.
The interdisciplinary projects explore embodied languages and the human dimensions that lie beyond bio-technological visions. Boedi developed the photographic processes to make Path. 11, Blindness; and the images were described by renowned muography scientist Professor Hiroyuki Tanaka, University of Tokyo, as the world’s first fine-art muography that he has seen.
Side-Eyes by Marc Nair
Side-Eyes by Marc Nair considers how offence is captured photographically along the streets and public housing blocks of Bras Basah.
Usually, offence comes from a sense of insecurity. People feel this way when their identity and/or beliefs are challenged, often in a way that causes discomfort, dissonance and anger. But this doesn’t always happen on the street. The images in this exhibition are of found scenes that do not engage the viewer on a personal level.Without a relational quality, might not feel personally offended. But offence exists at many levels. We could also be offended by the actions of people captured in the frame or by the juxtaposition between the object or subject and its wider spatial setting.
All of this is also contingent upon the degree of sensitivity and perception by which people understand the quotidian. While some may not bat an eyelid at these images, it might be worth considering how they urge us to see the world a little differently; to observe its fractures and be aware of our position and privilege.
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