only losers left alive (love songs for the end of the world), curated by Louis Ho, is a group exhibition happening at Yeo Workshop over July and August. It is a two-part project with a central proposition: if our world were to come to a screeching halt tomorrow, what would we be left with? This is a dedicated page to the artists featured in the whole show.
ABOUT THE ARTISTS
Brandon Tay is a Singapore based artist working in the fields of mediated sculpture and the moving image. His work complicates distinctions between the tangible and incorporeal, both in composition and well as subject matter. As a collaborator and individually his work has been shown at Kyoto Dance Experiment, Singapore International Festival of the Arts, M1Fringe Festival among others.
Chok Si Xuan graduated with a Bachelor of Fine Arts (First Class Honours) from LASALLE College of the Arts, in partnership with Goldsmiths, College of London (2020). A sculptor whose practice concerns tackling all things 3D - digitally, tangibly, and metaphysically, she is interested in cybernetics - the feedback between humans, living organisms and machines - and exploration of physical relationships. She currently resides and practices in Singapore.
Georgette Goh is a Singaporean craftsman and the co-owner of ART.WOOD.SPACE. She is interested in all things whimsical, extotic and generous of spirit. Her work combines themes such as dream fortress, woke culture and wounded nature on one hand and fantasy in a heavy emphasis of nature on the other.
Geraldine Lim is an artist who is interested in the psychological context of social alienation and the threats of the non-conforming and the notion of the strange. Working primarily with drawing and soft sculpture, she explores encounters of anxiety and the different facets that constitute what she perceives as her identity through creating fragmented narratives and selves in an alternative world filled with amorphous beings, creatures and things.
Hamkah Latib is a creative whose excellence thrives in fashion and art collectively. Graduated from LASALLE College of the Arts with a Bachelor in Fashion Design & Textiles. His expertise is in fashion design, art direction and illustrations. Often seeking a deeper conversation through his works, he fuses references from the past with the contemporary elements as a form of satire. He trademarks an edgy yet refined aesthetic with a maximalist touch.
Juria Toramae is a visual artist whose practice is deeply engaged with the oceanic space. Working at the intersections of photography, cartography, installation, and moving image, she is interested in making visible histories and ecologies that would otherwise go unnoticed. Her work has been presented at international festivals and venues including the Singapore Art Museum, the Singapore International Photography Festival, The Photobook Exhibition for Athens Photo Festival (Greece), the Obscura Festival of Photography (Malaysia), the Chiang Mai University Art Center (Thailand), and The Substation (Singapore). She works and lives in Singapore.
Mark Chua & Lam Li Shuen are Singaporean filmmakers and artists who work in the intersections of sound and image. Their second experimental feature Revolution Launderette was presented at the 30th Singapore International Film Festival (2019), 8th Asian Film Festival Barcelona (2020), 6th Mammoth Lakes Film Festival (2020) among others and won the Spirit Award at the 11th Eastern Oregon Film Festival (2020). Their latest short film ‘The Cup’ screened in competition at the 51st Tampere Film Festival (2021) and the 5th International Film Festival & Awards Macao (2020). It was awarded the First Prize (Moving Images) at the Julius Baer Next Generation Art Prize (2021).
Masuri Mazlan is a Singapore-based cultural worker, object maker and co-founder of Tekad Kolektif. He graduated with a BA in Fine Art (First Class Honours) accredited by Goldsmiths, University of London. He was awarded the prestigious Goh Chok Tong Youth Promise Scholarship Award (2016) that merits his artistic talent and many contributions to society. He was also a recipient of the coveted International TAKIFUJI Art Award by the Japan Traffic Culture Association (2017). He then received The Winston Oh Travelogue Research Award (2018) and he was accorded the Anugerah Cemerlang by MENDAKI (2019) for emerging in the top percentile of his cohort. He was the recipient of the NAC LASALLE Community Arts Mentorship Programme (CAMP) (2019) to co-lead art workshops on grassroots level. He also co-organised the recent exhibition, Resituating Home(work): Hyper-Material Domesticity and Of Spaces and Phases in conjunction with Singapore Art Week 2020-21.
Paradise Now (founded on 2020) is a Multimedia Artist Collective whose artworks assimilate a diversity of daily influences drawn from perception through observation. With a penchant for amalgamating incompatible elements, Paradise Now grows as a natural synergy of conflicting histories and personal experiences - they seek to explore the notion of space/mental space, memories, emotions, symbolism and metaphors through multidisciplinary approaches. Paradise Now is a repository for their thoughts and memories that would otherwise fade away with the business of daily living.
Samuel Xun is a Singaporean multidisciplinary artist and fashion designer that challenges the idea of gender by cross-referencing the hegemonic framework of Singaporean queer identity with Euro-American lineages of camp and the queer aesthetic. His work includes soft-sculpture installation and graphic art as well as fashion design informed by film, culture and personal narratives, through which, he questions the boundaries of how queerness invades the national rhetoric through physical representations like the clothed body and material culture, as well as through digital manifestations like social media. He graduated from LASALLE College of the Arts with a Bachelor in Fashion Design & Textiles. In his final year, he was awarded the Swarovski Innovation Prize (2020) and was nominated for the McNally Award (2020).
Sarah Isabelle Tan is a Singaporean artist whose work delves into the ontology of the photographic, navigating between nuances of the tangible and intangible. Working across visual imagery and printmaking, she is particularly interested in the materiality of the photograph and its (re)representation of things. Navigating personal encounters of loss, memory, fleeting moments, and a longing to possess what is always beyond reach, Sarah’s practice is driven by open-ended inquisition and contemplation.
Victoria Hertel is a German-Venezuelan artist working in process painting, site-specific installation and material studies. She is interested in material-oriented phenomena and trace as energy in materialities. Hertel‘s research and practice focus on immersive sensory experiences that address the inherent knowledge of the body. In 2016 Hertel received her BFA from the University of Barcelona, during which she also studied at the Academy of Fine Arts Munich on an Erasmus+ scholarship. In 2021 she graduated from LASALLE College of the Arts Singapore with an MA in Fine Arts. Hertel lives and works in Singapore.
XUE is an eponymous surrogate for Singaporean artist and butoh dancer Sher Chew — a conductor of clandestine realities, activated through rave sensibilities, live performance, sound collaborations and video work. XUE is interested in the economy of the self as mediated through technology. Their work unpacks the tenuous allure of the posthuman fantasy as a means of recognizing or transcending one’s body. XUE cultivates methods of aesthetic production as intervention, wielding an impressionistic style of world building as a form of critical inquiry. XUE’s practice is in enacting and unearthing new mythologies, as a means of reclaiming personal and cultural identities.
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only losers left alive (love songs for the end of the world) 2021, 10 July - 31 July 2021
only losers left alive (love songs for the end of the world), curated by Louis Ho, features a roster of local and locally-based artists. It takes its visual and conceptual cues from cinema, featuring tableaux populated by objects, images and sounds that evoke the moods of science fiction. It draws inspiration from films, such as La Jetée (1962), Brazil (1985) and 12 Monkeys (1995), that envision disaster and/or dystopia, but filters that vision through the nostalgic aesthetics of the past.
Providing the real-world context for the mood of despondency is, of course, the current pandemic, and the climate of fear, uncertainty and paranoia in which the global population has been mired. With that backdrop in mind, only losers left alive (love songs for the end of the world) offers an oneiric vision of a calamity to come, understood through the memory of a yesterday that is mourned, lamented, grieved for.KNOW MORE
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