In his fourth piece for GRC, Ng Yi-Sheng talks of harrowing times. From the Coronavirus to SARS to AIDS, from the personal to the societal, he remembers states of fear and—on occasion, of solidarity and looking after for one’s own. Finally, offering a clarion call to empathy and vitality, he reminds us to remember to live, with heart and art—even amidst face masks and kiasu.
In his third piece for GRC, Sharaad Kuttan reviews the famed Jaipur Lit Fest, to posit a space in which creativity, culture, and commentary can reside—all to the backdrop of contemporary India’s polarised political landscape. What are the ethical complicities to attending such an event? How does one navigate cultural awareness in an age of woke capitalism? Sharaad shares his experience.
For his third instalment on sensing the city, Alfonse Chiu delves into the gustatory, masticating through a topic both beaten to death, and at the same time, laminated to our (gut) culture—the Singaporean Hawker. From biology to sociology, to industry and (inevitably) public policy, Alfonse serves up an odyssey and ode to an ever-changed national symbol.
P(un)s. Too much bake off again.
In her fourth piece for GRC, stalwart fact-finding futurist Reena Devi looks at spaces of incomprehensible data, everyday intimacy, and animistic spirituality, in an age of unknowable surveillance. Through close readings of three artists and their practices, she projects ways in which contemporary art holds a mirror up to the very age and body of its time—or perhaps in spite of it.
In her fourth GRC piece, recent ‘Geylang convert’ Akanksha Raja attends a special iteration of the Geylang Adventures walking tour, in collaboration with the Singapore Biennale. She delves into the lorongs of Geylang, a local neighbourhood of national seedy repute, to find spaces of disparity and humanity through the stories of its residents.
National Library goer Ng Yi-Sheng waxes lyrical-critical about our nation’s shiniest public paradigm in his third piece for GRC. From banned books to liberal discussion groups, he breaks down the complexities of the space, and muses on the possibility of a truly public place.
In her third piece for GRC exploring global public spaces, Reena Devi ventures into the spiritual and mystical realm through art. Beginning with the hermetic paintings of Hilma Af Klint (and her widely attended retrospective) to artists of our time and their predilection for understanding spirituality through art, Reena looks at this exploration of human consciousness in our contemporary age of rapid development and decline.
For her third GRC piece, Akanksha Raja reviews the 12th edition of Urban Ventures, a placemaking initiative by urban design studio LOPELAB, held on Keong Saik Road. In experiencing the artworks at the event in relation to its street, and the undeniable gentrification of these “heritage” neighbourhoods, she asks what becomes of a place, and what it means to “make” it?
In his second piece for GRC, Ng Yi-Sheng goes shopping. Analysing our stratified relationships with malls—whether loved or reviled, avoided or embraced so you can dry your sweat in sub-zero-air-con, he puts this questionable symbol of the Singaporean public on display.
CCP participant Jaclyn Chong grapples with the feminist qualities emerging from her project and resolves to take agency over her performing body as an act of rebellion against power structures that seek to alienate and repress female bodies.