Bedtime Chatter on Hearty Films from Civic-Life Part 3 of 4

Photo: Alvin Pang -

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor

Here's part 3 of our review / dialogue.

Jeremy (J): So I am looking at the thumbnail of the karom board and pieces and thinking.... not another foreign worker story. (pause) I mean the the Karom was a giveaway... who plays Karom these days?

Alvin (A): Haha, that's sharp. I didn't figure it out till I read the synopsis.
J: But thankfully for that 90 secs of Little India, it's not too bad. It gives you a comfortable glimpse of the chaos in Little India. Strangely in the way it shot its subject and its choice of activity, Little India seemed more…pretty. How do you score this?
A: 3, 3.5, 3, 3.5
J: Pretty level. Any thoughts?
A: I particularly like the way it starts off at the day's end...because that's when they disappear from the construction sites and places you often see them, to a place where they feel a deeper sense of "home".
J: I agree. The night-day reversal had a good point.
A: Must say it does engage the emotions, perhaps because it brings out the little-seen daily routines of these almost-nocturnal group of people. (pause) How do you rate it?
J: For its eye on unexpected beauty, creativity gets a 3, for its lyrical portrayal of their daily routine, 3.5, technicality does not surface as a feature probably because it is fuss-free documentation, so that's a 2.5. Overall, it gets a 3.

A: I like how the filmmaker makes a conscious effort to make a tribute at the end - "For the migrant workers - who put their hearts into our homes" ...fleshes out the emotional and authenticity of the film.
J: To put it in a cliche, it is a whimsical look at migrant workers
A: I see it as more than that actually...the emotional elements reminds me a little of a film by the renowned Taiwanese director Tsai Ming Liang - 'I don't want to sleep alone'.

Mandarin Gardens 2010 from Eugene Soh on Vimeo.

J: Moving ahead, Mandarin Gardens is home-video made to look exquisite
A: Haha well put, got to agree with that assessment though. How do you rate it?
J: It's a 2, 2.5, 3.5, 2 for me.
A: Mine's is a 2, 2.5, 2, 2.5. (pause) That's a pretty high score for technicality.
J: High? I bet they have a mean camera ok. HD, telephoto lens, aperture/contrast control and all.
A: Personally I felt the unsteady cam served more of a distraction than its assumed intention to bring out the candour of the "home vid"
J: What do you think of the narrative or the content?
A: The dialogue felt scripted at times, though must add the candid shots were a nice touch to even that out...content felt a little shallow for me. How about you? How did it work on an emotional level for u?
J: There was something strange about the set up of the video. I think it's meant to be spontaneous, yet there was a palpable sense that the women were acting it up a bit. There is a strong middle-class corporate executive undertone to their delivery and sensibilities. (pause) For the warmth and wholesome goodness of home that I am supposed to feel, I felt it was a little bland.
A: (On the strong middle-class tones) Hmm well to be fair, Mandarin Gardens isn't what one would call Heartland-ish
J: Haha. Don't you think it's strange nobody wants to watch the middle class on screen. People like either people at the pits or the rich and vulgar. (pause) Eerrm.... actually I just answered my own question!
A: Haha!

Miniature Town : Potong Pasir from togusa chan on Vimeo.

J: Miniature Town Potong Pasir gets a 4, 2, 5, 3.5 from me.

A: This film's an interesting one.. it gets 4, 2, 4.5, 3 from me. Wow but we finally got our first 5!

J: Yes. Perfect execution of the dioramas here.
A: Impressive technicality and creativity, especially seeing the town in miniature models. But how do you think it came together overall?
J: It intrigues me! It works on so many layers. Visually, it compels your attention. It's certainly a labour of love. In fact, almost too good for the scale of this competition. I wish the film lives a long life.
A: I personally felt that besides the "technical showmanship" as it were, the film felt a little fragmented. For example, I didn't quite get/feel the accompanying Japanese soundtrack and thought it disengaged a little with the overall themes.
A: Why just 3.5 for X-Factor then? You sound like it impressed on a greater level.
J: I feel on visuals alone, it's marked out its turf clearly and it's a solid one. But I agree about its fragmented feel. And come to think of it, it does not really answer the brief. It is clear this one's all out to impress and I'm impressed! (pause) By the way, do you think there is any siginificance to it using a diorama?
A: I felt it was to tie in with its "a day in little Potong Pasir" theme... How did you see it?
J: In what way was it a tie in?
A: Perhaps in surfacing the fact (as stated in synopsis) that it's one of the smallest estates in Singapore?
J: Yeah, that's why I found it to be very creative. In fact, I wondered if there was any political reference intended in the way it made Potong Pasir into something anomalous
A: How so?
J: Well, given that Potong Pasir belongs to a different political party, the treatment of the film seemed to be to put it under a different set of lenses…zooming in on details and blurring out the rest of PAP-owned Singapore!

I am home - Jason Chan & Andrew Keegan from Jason Chan on Vimeo.

J: You know, I am really itching to you how you would score the next clip I am Home
I am usually a contrarian and I avoid siding popular opinion. But I give in this time
A: It's another add to my "favourites" shortlist.. 4, 4, 4.5, 5.

J: I have a 5 somewhere, can you guess?
A: I would say X-factor (?)
J: That’s just one. It's a 5, 4, 5, 5.

A: Talk about standing out from the crowd, 'I am home' is definitely one to remember from the 20 competition films…not just in execution and impressive technicals, but the humour element is such a refreshing touch... Curious, why the lower score for emotional aspects?
J: I feel there is always a trade off between poignancy and how scripted the film is. This is scripted to the frame. But executed with precision of course. Good thing they went with humour and not melancholy or nostalgia.
A: Thought so, I would say the script is well-written to flesh out the narrator's emotional journey... and I guess that added dimension - fact that it's not just a physical homecoming but an emotional one as well - really engages the viewer…Self-deprecating humour FTW!
J: You know the idea is almost seamless to me... I will challenge to pick out the flaws. What are they and how would you make it better if that's possible?
A: It would be nitpicking, but in a way you could say the script was over-sapping the homecoming journey...and you?
J: His presenter personality... he sounds too perfect. Using the same idea with an average Joe would resonate more with me

The Stone Table from yanqiu on Vimeo.

A: The Stone Table is one lesson in straining your ears... Mine is a 2, 2, 2.5, 2
A: The direction and treatment as well actually... but maybe not so much a strain as a cringe. Interesting choice of language used in the narration, in short felt it over-glorified the theme. What are your ratings?
J: It's a 2, 2, 2, 2. (pause) I personally felt it was over-intellectualising and the idea stood on wobbly ground. The most interesting thing in the film is a (probably) intended detail - the strewn plastic at the side.
A: Yeah I was wondering why that too
J: I surmise that it is probably deliberate because it remained there after the boys left the void deck, making a subtle statement
A; Yup, perhaps a slight touch to give the shot more authenticity
J: But was it there as an ode to ‘American Beauty’ or even worse, an oversight of the Art Department!
A: Haha, it wasn't swirling in the wind though...Perhaps more the latter then.

Read Part 1 and Part 2. Part 4 will be continued...

Beauty in Change by Ekachai Luadsoongnern

Beauty in Change
Artist: Ekachai Luadsoongnern
Date: October 14, 2010 - November 14, 2010
Gallery: DOB Hualamphong Gallery

The Sakura likely the symbol of Japan beautifully blossoms in the Spring. Ekachai Luadsoongnern captures the moments and portrays them through his recent series of paintings and drawings in an exhibition entitled Beauty in Change. With his swift yet wavering brushstrokes, the artist, known both nationally and internationally, has successfully transmitted feelings and beauty that even though altered through time, is worth to witness.

DOB Hualamphong Gallery

DOB Building 4F, 318 rama4 Rd.,
Mahapreutharam, Bangrak, Bangkok 10500
Tel. 0-2237-5592-4, 08-5482-3566
Open: Tuesday - Saturday 10.30 – 19.00 hrs.
Sunday 09.30 - 17.30 hrs. (Except on Monday)
Website :

Contemplation – Improvisation by Thongchai Yukantapornpong and Kitikong Tilokwattanotai

Contemplation – Improvisation
Artist: Thongchai Yukantapornpong and Kitikong Tilokwattanotai
Date: November 18, 2010 - December 26, 2010
Gallery: ARDEL's Third Place Gallery

The exhibition Contemplation – Improvisation presents abstract prinmaking by two artists from Chiang Mai; Thongchai Yukantapornpong and Kitikong Tilokwattanotai. Although each artist has different approach and technique to apply to their artworks, they both searching for a new and unique method in order to create these spectacular works. The new woodcut technique and intaglio works show ideas, motives and the contemplating mind of the artists. The flat plates that are left with scratching marks recorded the improvisation that transmits feelings and emotions. Even though the two printmaking techniques project two conflict characters, the difference are silently spoken through the language of printmaking in which also interestingly brought the fresh notions to this type of fine art.

ARDEL's Third Place Gallery

Address: Sukhumvit55, Thonglor Soi 10, Bangkok.
Telephone: 0-2422-2092, 08-4772-2887
Open: every day from 10.30 – 20.00
(closed on Monday)

Breath of Creation by Pratuang Emjaroen

Breath of Creation
Artist: Pratuang Emjaroen
Date: October 19, 2010 - November 21, 2010
Gallery: ARDEL Gallery of Modern Art

“Breath of Creation” is the latest exhibition presenting fine artworks by the legendary Thai artist Pratuang Emjaroen. Each painting illustrates the great power of nature; tidal waves, the bright sun and the movement of the weightless substance like air that immensely reflect the artist’s emotions. The accurate and sharp brush strokes and the bright color tell the story, the spirit of the artist that every single breath truly dedicated to the creation of art.

ARDEL Gallery of Modern Art

99/45 moo. 18 Km 10.5 Boromrachonanee Road,
Salathammasob, Taveewattana, Bangkok 10170
Tue-Sat: 10.30 am -7.00 pm
Sun: 10.30 am - 5.30 pm (Closed on Monday)
Tel: +66 2422 2092
Fax: +66 2422 2091

Another Journey by Theerawat Maysasitthivit and Parichat Jirasakwittaya

Another Journey

Artists: Theerawat Maysasitthivit and Parichat Jirasakwittaya

Curator: Narongsak Nilkhet

5 – 27 November 2010

Opening reception on Friday 5 November 2010: 6.00 PM

Venue: creative house inspired BANGKOK by TOYOTA.

Interchange Building, L floor, Asoke junction, Bangkok

Project Title : “Another Journey” is a group exhibition by young blood artists : Theerawat Maysasitthivit and Parichat Jirasakwittaya. The works of both artists interpret the meaning of “Journey” through interactive Installation and Video Installation art form. Another Journey will be held at creative House BANGKOK inspired by Toyota is a non-profit space for anyone to express their creativity.

“Journey” a simple word that describes a movement from A to B. A surface of journey may be looked as though a direction from a starting point to an aimed destination. But a journey does not consist of only 2 points, it is involved a hidden interaction surrounding by many different elements which are a crucial part of molding experiences.

“Another Journey” is another journey. This journey brings another experience. This experience may be a new process of getting to know something for someone, at the same time it may be a repetitive feeling or action for someone. Either case, these are another journey that at least is a self-discovering.

Theerawat Maysasitthivit a young blood interactive installation artist presents his own experience of changing an everyday life environment through a new space. An environmental change causes emotional changes which make human adapting to suit in. This offers an interaction between compromises and conflicts besides an observation of the emotions, personal struggle, and the path breaking events of a contemporary society.

Whilst a performing artist who creates her debut site-specific performance art, Parichat Jirasakwittaya reflects the perspective of social online networking, especially facebook phenomenon by criticizing a journey of identities and messages from finger tips on keyboards that travel into the virtual reality and comparing it to an action of transmitting them in reality.

Because life is a journey, May you have a pleasant journey. Bon Voyage!!

For further information, kindly contact creative house BANGKOK inspired by TOYOTA: 02-611-2798-9 or 081 582 5551 (Bik), 089 915 9150 (Zom)

Open hour : 11 am – 8 pm (Closed on Sunday)

WRSCF - Wildlife Conservation

Agency: Grey Singapore
Client: Wildlife Reserves Singapore
Title: Extinction is Forever
Creative Directors: Justin Lim, Koh Hwee Peng
Art Directors: Elsa Peck, Joseph Chan
Copywriter: Jody Yeoh

Bedtime Chatter on Hearty Films from Civic-Life Part 2 of 4

Photo: Alvin Pang -

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor

Here's part 2 of our review / dialogue.

Dancing on Waterloo Street from David Stewart on Vimeo.

Alvin (A): Dancing on Waterloo St gets a 2, 2, 3, 2.5
Jeremy (J): When do we see a 5?
A: Haha! (pause) Title feels like a bit of a misnomer as first half of the film was on anything but Waterloo Street.
J: I kinda like this one for its visuals really (pause) Why 3 for technicality?
A: Decent music accompaniment and nice shots and cinematography. Though have to say it barely adds much to the film.
J: Mine is a 4 for technicality. The telephoto, dolly and tracking shots are executed with such grace. So it’s 2, 3, 4, 3.5. (pause) For me, it’s a 3 for emotional quality because it marries a stirring score with epic-like visuals quite well.
A: Yup, though I felt there was little continuity from one place/scene to another. Generally felt a little too detached for my liking.
J: I agree that the content of the shots don't add up to a cohesive narrative.
A: That said, I liked how the ending was put together. Beautiful shots of normally-stoic faces come alive in dance. With the music accompaniment, it does stir the emotions like you said.
J: It seems like a hobbyist approach to making the film - David goes around with his expensive machine capturing random moments of beauty without a plot and strings them into visual sequence. (pause) Sometimes, it's hard to strike a balance between a organic approach like David's and single-mindedness of a scripted approach so you may miss out on accidental beauty, like the faces that came alive in dance. (long pause) What do you think of the shot when Quan Yifeng's face on the bus whizzed pas the trishaw rider? …….It happens to be my favourite shot.
A: Hmm, I didn't notice it much honestly. What do you think it added to the film?
J: It was a moment of transcendence. It was like Quan Yifeng, a feisty public figure known for her keen eye on social matters and inter-personal relationships was looking at the trishaw rider. (pause) But that's just my things with Quan Yifeng.

Civic Life - Paintings from David Gan on Vimeo.

J: Paintings happens to be my favourite clip title becaise of the pun and the metaphor, though the film then slipped into becoming very literal. (pause) My scores are 3.5, 2.5, 3, 3.
A: That's interesting. what do you think the pun/metaphor was? (pause) My scores are 3, 2, 2.5 and 3 by the way.
J: I think it is very clever and the use of the word suggests the idea of a veneer which really applies on a social, psychological and even political level. And I always saw HDB flats as a PAP political icon in their blocked, rigid shapes, so the concept of painting over a HDB flat bore an intellectual kick for me. (pause) What do you see in Paintings honestly?
A: I actually did a double-take in "creativity" because initially I didn't understand what the filmmaker was getting at. I noticed then perhaps there was a metaphorical element in the "renewal" of the block's facade, especially in shots contrasted against the "showy" commercial buildings in the distance. (pause) It's also worth noticing how the filmmaker makes meaning out of an otherwise seen as mundane activity. Perhaps it makes you see a block upgrading programme in new light.
J: But does it engage you or is it just a 'oh that's smart!' fleeting thought?
A: It didn't work much on a emotions level with me. Perhaps like you said, it drifting into the literal made it lose some of its lustre. (pause) What do you think? Did it engage you?
J: Only when the film opened and the titled was flashed.

Corridors from Isazaly Mohamed Isa in Vimeo

A: How did you find Corridors then?
J: Ingenious, inspiring and in a league of its own. (pause) Let my numbers talk : 4.5, 3.5, 4, 4.
A: Wow. (pause) Mine would be 4, 2.5, 3.5, 3.5. (pause) How did you find the narrative as a whole?
J: It was toying with the concept of using sound to redefine a banal everyday space. Not much narrative except for a certain sequence of different genres to the sounds that are stringed together. I thnk what I enjoyed about watching it was the fact that it was a very simple idea executed to precision and that simplicity triggers a mental off-shoot or escapade.
A: Must agree its impressive and original creative flair sets it apart from the competition. However it did leave a tingling feeling that it dragged on for more than it should have. And somehow drifted into what felt like a contrived attempt to end it. Nevertheless it's certainly the most well-executed film so far in the collection.
J: Well, it's a slow burn... forces you to observe and take in the details. (pause) If you preferred it not to drag on for that long, how would you have done it differently?
A: In a way the conceptualization of the corridor as simply a place of memories didn't come off that well for me, as it looked very much still a place with life. Thus maybe it might have left a better impression/memory with a more conceivable ending in light of the fact that it's still got life left in it...rather than the seemingly hopeless end it seemed to portray.
J: I didn't see the film as trying to pitch the corridor as a place of memories. It was quite a mixed bag of sounds, some even sounding like someone was watching Saving Private Ryan. So I saw it more as playing with sound and perceptions.

Swing Me Back from mihir desai on Vimeo.

J: You know, after watching Corridors, I felt I was not going to be impressed with 'Swing Me Back' form its thumbnail shot. It looked pretty standard. But I was wrong. It delivered good old nostalgia but with a little visual twist - the writing animation over the photos, giving it a very personal and sincere touch.
A: Besides good use of the said swing as a plot device, it felt a little bare. What’s your score?
J: 3, 4, 3, 3.5.
A: Mine’s 3, 2.5, 2.5, 3. No doubt that the visual touches made it feel like a walk through memory lane, but I must say I wasn't too emotionally-engaged by it. (paused) what were the emotional triggers for you?
J: It was simple portraits of family, which I found easy to identify with. And the photos really captured the family members were 'freezed' in honest and sometimes vulnerable moments. What do you not identify with?
A: Perhaps because of the film's centering on the inanimate swing and old photographs, it didn't quite engage in a way the raw candidness of the photos did for you.
J: But didn't you find anything special about the pictures?
A: Well, I thought the metaphorical use of the swing was well executed as it formed almost-the centerpiece of all the old photographs, in that forms the emotional attachment for me.
J: For me, it was special because it featured an Indian family captured in sepia tinged yesteryear images - something done to death with Chinese families in local films. So it present a different track of history and nostalgia peculiar to Indian families and seen through the eyes of an Indian.

from Esna Ong on Vimeo.

A: There is a close tie between Home and Corridors for my favourite film so far. One of few films which I felt had more to offer than pensive reflections of a bygone era. (pause) So, I am giving it a 3, 4, 3.5, 3.5.
J: I like it but it is a little low on creativity. Mine’s a 2.5, 4, 3.5, 3.5. (pause) I felt it answered the competition brief like how the model pupil in class would write a grade a composition….stuck by the rules... kept within parameters... safe... relevant….and conventional.
A: I must say some parts did feel a bit premeditated, especially the dialogue which didn't quite convince the point that the narrator had lived there so many years. And when I compare the narrator's delivery with that of 'Remember', I do see the contrast of emotional engagement between both.
J: Really? I felt the narration was quite sincere, even though the structure was very scripted. I still felt I was listening to a friend speak about her growing up experience. In fact, I felt the narration in 'Remember' though honest, but was a tad clumsy.
A: Is it due to the fact it's spoken in heartland mandarin?
J: No. I think the narrator is quite at ease with herself. Perhaps the tone of voice and choice of language made it more accessible than it might have been. (pause) I appreciate the personal touches like showing where she waited for the school bus though it could be a little less literal. I also found that she had a trained pair of hands in the cinematography, being able to emotionally heighten some moments like skirting around a pillar in the coffeeshop.
A: Good spots. Agree that it generally gave a sense of heartland authenticity, in part due to language used, in part due to the cinematography.
J: You said this is 'more than pensive', how so?
A: It felt more forward-looking, as if the past was just a conduit to where the narrator is now...ending off with a view to the future in the said place.

Read Part 1 here. Part 3 and 4 will be continued...

Symbols of Buddha‘s faith by Anan Ratchawang-in

An art exhibition by Anan Ratchawangin
October 14 – November 14, 2010, @ Galerie N on Witthayu Rd.

“Symbols of Buddha ‘s faith” is the latest solo exhibition by Arnan Ratchawang-Inn. After a four-year hiatus, he is excited about displaying his new works. The artist has created a form of Traditional Thai contemporary art which symbolically portrays faith, peace, purity and light based on Buddhism.

Arnan was raised in a rural atmosphere closely linked to local art and culture, customs and the Buddhist way of life. He absorbed all the power of artistic beauty, culture, tradition and faith. These strong influences motivated him to learn more and conduct extensive research into Thai art which led to the development of his highly unique work.

The artist received 1st Prize, Gold Medal in the Semi Tradition Art Section, at the 23rd Bua Luang Art Exhibition and participated in the Thai Contemporary Art Exhibition in 2009 at Moulin des Acacias, France.

For more information please call 086 601 7111, 02 252 1592
Tuesday – Sunday ( closed on Monday)
Galerie N is located on Wireless Rd. across from Lumpini Park
(300 m. from Lumpini Metro Station exit3, 1.5 m. from Ploenchit BTS station)

Galerie N is located on Wireless Road across from Lumpini Park, 300 m. from Lumpini Metro Station and 1.5 km from Ploenchit BTS Station

Opening Hours : Tuesday – Sunday 10 am – 7 pm
Address : 139/5 Wireless Road Lumpinee Pathumwan Bangkok 10330 Thailand
Telephone : +66 (0) 2252 1592, +66 (0) 2654 0522
Mobile : 086 601 7111
Facsimile : +66 (0) 2251 5098
Email :

Bedtime Chatter on Hearty Films from Civic-Life Part 1 of 4

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor

Small Paradise from Kimberly Ong on Vimeo.

Alvin (A): ‘Small Paradise’ gets a 2.5, 3, 2.5 and 3.
Jeremy (J): For me, it is a 2, 4, 3 and 2.5. (pause) By the way, all pretty dismal scores.
A: Perhaps because its intentionally simplistic nature (to capture elements of childhood) falls short of engaging too much emotion?
J: I on the other hand felt something warm and comforting in that simplicity - the shots of seaweed, water, sunshine.... all very unassuming, yet charming.. hence the title ‘Small Paradise’.
A: Well noted. I like how the title fits in with the film's concept as well.. i.e. small memories in small "paradise".
J: Exactly... but having said that. it is forgettable amongst the entire stable of 20 films cos it is about little everyday moments (which can be captivating) but the images were pretty cliché in this film.
A: Agreed. Perhaps its theme/angle is its Achilles heel then - a tad too whimsical to be etched in the mind.
J: Whimsy is ok... but bad for online competition... the Youtube audience loves to be entertained.

One by Christian Lee from Christian Lee on Vimeo.

A: Moving on, ‘One’ gets a 3, 4, 3, and 3.5.
J: For me, it is a 2, 2, 2, 2.
A: Wow, sounds like you don't fancy it much.
J: You read me... explain your scores.
A: I like how it starts out with the shot/description of the nondescript building and moves on to its deeper significance to the protagonist's life.
J: I agree ... nice progression. (pause) However, if you look at it critically, the idea is in their hobby, which technically is not part of the process of making the film.
A: Well, I still like it better than the first perhaps because it leaves a stronger sense of attachment, through the transition from the inanimate (building/lion head, dance) to a deeper emotional level that brings out the desire of the couple in them wanting to fulfill each other's dreams and desires. That sense of "sweetness" hooks me in.
J: You are so wanting to get married .... lol
A: In absolutely no rush at all. On your point about the hobby, I am not sure if it's their "hobby" or something they (or the husband/narrator in particular) had to go out of his way to do in order to fulfill his wife's unconventional wish. (pause) Perhaps also the fact that it's such an unconventional/peculiar request that makes the memory of this film stick out. I mean who would think of "marrying" (pardon the pun) lion dance and a wedding ceremony?
J: Well... whatever works to make you remember... but just does not hit the right emotional notes in me.
A; I thought it could have been better if the narrator (assumed protagonist) accent was expanded on. Sounds like he isn't local and would have brought an interesting dimension to the culturally-Chinese thing he's doing. Would it have made a difference for u?
J: I think the accent made the video very foreign to me. So yes, totally makes a difference for me.

Boxes and Lines by Reb Ling from Reb Ling on Vimeo.

A: My scores for Boxes and Lines are 3, 2, 2, and 3.
J: 4,1,2,2.5 for me. I gave creativity a 4 for its bold direction. (pause) It stands out from the rest for its strong grip on a visual metaphor. But it falters on all the other aspects. Most of all, they need a better narrator.
A: Agreed. I like how she parallels her sport passion with something probably more familiar to females - relationships. Just reading the synopsis, I was convinced it was something about relationships!
J: Yes... straights lines and circles and trajectories…says so much about relationships!
A: The choice of shots seemed a little myopic to me too. Football is as much a spectator sport (read: couch potato) as a physical sport but there wasn't any emphasis on that.
J: I like how you used the word myopic. (beat) In fact, the cinematic breadth is very limited and it constricts our view of her world. On another note, I also feel I don't have to explain the low score on technicals. The camera was shaking 80% of the time.
A: Bringing up your point on the narrator earlier, why do you think it could do with better?
J: She is expressing using a lot of heavy angsty words but her delivery sounds very level-headed and bland. So she needs to make those words come alive. (pause) I think the upbeat, synthetic-sounding music works against her content as well.
A: I'm just thinking whether it could be attributed to the fact it's a male-dominated sport and thus the composed, non-emotive bassy tones.
J: Yes..... I am picturing her with extremely short hair with an affinity for pants.

Remember from Tang Kang Sheng on Vimeo.

J: ’Remember’ gets a 2, 3.5, 3, 3. (pause) The thumbnail grabbed my attention because it featured something deeply personal. But I felt he could have done a lot more with the old photographic gems.
A: I assume that contributes to the 2 in creativity then.
J: I mean he could have done more with those old gems.
A: I give it a 2.5, 4, 3 and 3.5.
J: It affects you emotionally I see.
A: Yup. I think that's the key takeaway for me in ‘Remember’. (pause) I like how the narrative starts and ends, it divulges a little on the narrator and sounds like he's a bad state. Quote: "As you grow older, you tend to do things you......really regret". Though on the surface it seems so little what present choices/mistakes have to do with his past or with his grandparents, it somehow affects him enough to link it. I love how the narration ends as it started, a pensive look at his life and desire to set it right because of his past.
J: I like how the narration is very sincere. No, raw is a better word. (beat) It's a totally untrained voice that is speaking from the heart. The only pity is the speech rhythm and inflexions seems out of sync sometimes.
A: Yeah I agree on the fact his voice/tone was so raw and untrained. As if it were unscripted…and it was a plus to the authenticity for me.
J: But it's a double-edged sword. The rawness also makes the clip less punctuated…I remember fragments but I don't register a story.
A: That has a strange appeal to me in some way. The narrator brings out enough to imply there are undercurrents but makes one wonder what they are and how they tie in to his past. (pause) It's almost like the viewer is given fragments to piece the puzzle together, though obviously there are many missing pieces.
J: Well, strange is the word. It feels incomplete, raw, a little unsteady, clumsy but you know… perhaps its gaps reinforce the idea of a void.

The Tree from Mary Magdeline Pereira on Vimeo.

A: ‘The Tree’ gets a 2, 2, 2, 2.
J: Wow, that says a lot!
A: Haha, unfortunately the film doesn't.
J: I am going with 1, 2, 1, 2. (pause) It is strange it got into the top 20. The only thing of note (i.e. the narrative) was in short, the clip is overly poetic, scripted, and way overdone for my liking.
J: Poeticism-overkill.
A: Also there was little, if any congruence between the narrative and the shot. "Red berries...squirrel scambering.." But all one sees is a nondescript looming tree barely of note. (pause) At times it seemed the disoriented camera was confused of what to capture and I don't think you can expect the viewer to be any more enlightened.
J: Yes, it's a strange case of the words serving the visuals rather than the visuals serving the words. And the shots were very literal too, giving the impression of poet making a clumsy cross-disciplinary crossover.

To be continued with Part 2, 3 and 4...

(What do you think? Share your views with us below.)

mobile gallery tours the old city

3147966 mobile gallery by Hern went on a tour few weeks ago to the old city area of chiang mai.
it had been parked in the antique architectural house right in the middle of the old city.

especially on every sunday when the nearby streets has held the sunday walking streets,3147966 became harmonious with the tuneful music in the green garden with the stunning cultural architure behind and local plants and grass fully flourish up on the top's mini garden.

works curated were the sketches from yonyang group's leader artist: P' Jung

3147966 is now back at the quarter and plans for the next tour

Alice Yard 4 x 4 Anniversary

Alice Yard celebrates it 4th anniversary with a collection of events. 

DATE: FRIDAY 24th September – October 1st
September 2010 is Alice Yard’s fourth anniversary as an independent space for creative experiment. This year we mark the occasion with 4x4, a programme of events focusing on Alice Yard’s regional network, and our creative collaborators in four specific Caribbean locations: the Bahamas, Barbados, Jamaica, and Suriname. 
What’s On in the Main Galleries (the Box, Annex and Band-room Nook):
The exploration of digital photo- and video-based work is a significant recent trend among younger Jamaican artists. Shot in Kingston assembles work by Marvin Bartley, Keisha Castello, Stefan Clarke, Marlon James, O’Neil Lawrence, Ebony Patterson, and Oneika Russell, curated by Christopher Cozier and O’Neil Lawrence. 
The Galleries are open on:
Friday 17 September (7.00 to 9.00 pm); Saturday 18 September (7.00 to 9.00 pm, when Cozier will be available for informal conversation about the works); and Wednesday 29 September (8.00 to 10.00 pm), or by special request.
Friday 24 September: Outward reach
Alice Yard’s Caribbean network includes independent contemporary art institutions in the Bahamas and Suriname. Artists 
John Cox of Popopstudios in Nassau and Marcel Pinas of the Kibii Wi Foundation in Moengo join Christopher Cozier in a conversation about regional collaborations and future possibilities. 8.00 pm
Monday 27 September: Heino Schmidt: Equilibrium
Bahamian artist 
Heino Schmidt has been living and working at Alice Yard since May 2010, supported by a Commonwealth Connections International Arts Residency. Equilibrium is a new work created during his time in Port of Spain, also presented at the 2010 Liverpool Biennial. 8.00 pm


Wednesday 29 September: O’Neil Lawrence on the Kingston scene O’Neil Lawrence is an artist and curator at the National Gallery of Jamaica. He will give an informal talk on current trends in Jamaica and the artists included in Shot in Kingston8.00 pm
Friday 1 October: Sheena Rose and Lauren Hinds
Sheena Rose was artist in residence at Alice Yard in May 2009, when she presented her animated video work Town. She recently participated in a residency and exhibition in Cape Town.Lauren Hinds is a Trinidadian artist working in the medium of the graphic novel. She recently completed a year-long programme at the Centre for Cartoon Studies in White River Junction, Vermont. Rose and Hinds will spend a week working together, then present their collaborative project to the public, together with recent solo works. 8.00 pm
Further details of each event will be posted at the Alice Yard website during the 4x4 programme.
Please check for times and updates.
About Alice Yard 
80 Roberts Street, Woodbrook
Alice Yard Space is a small gallery in the backyard of 80 Roberts Street--a nine-by-seven-by-ten-foot concrete and glass box designed by architect Sean Leonard, which opens in September 2007. It is just large enough to fit an artist's installation, a video work, a few drawings or paintings. Since September 2006, Alice Yard has been home to a series of weekly Friday-night "Conversations", bringing musicians, artists, writers, and audiences together for informal performances and interactions. The gallery now creates the possibility for another kind of conversation, by offering contemporary artists a space to show a carefully selected piece of recent work, or even work in progress. The concept evolved from a conversation between Sean Leonard and artist Christopher Cozier, and through a series of drawings in a sketchbook they shared over a period of six months. They conceived of a modest space where artists can experiment with ideas and works not normally feasible in a commercial gallery. They are inviting other artists to join in their sketchbook conversation, as it were, and also inviting viewers into the process. Alice Yard Space asks questions about the relationship between artists and their community, outside the conventional bounds of the art market (but not oblivious to commercial concerns). 
About  the show’s main curator and Alice Yard administrator Christopher Cozier 
Christopher Cozier is an artist and writer living and working in Trinidad. He has participated in a number of exhibitions focused upon contemporary art in the Caribbean and internationally. Since 1989 he has published a range of essays on related issues in a number of catalogues and journals.

He is on the editorial collective of 
Small Axe, A Caribbean Journal of Criticism, published and distributed by Duke University Press. He is the editor of sxspace a blog platform about the visual on the small axe website. The artist has been an editorial adviser to BOMB magazine for their Americas issues (Winter, 2003, 2004 & 2005). The artist is a Senior Research Fellow at the Academy of The University of Trinidad & Tobago (UTT) and was Artist-in-Residence at Dartmouth College during the Fall of 2007 .  
He co-curatored the exhibition Paramaribo Span , Suriname 2010 , recently showed his work Tropical Night in AFRO MODERN at the Tate, Liverpool, 2010, Sound System II at the recently concluded Rockstone and Bootheel: Rockstone and Bootheel: Contemporary West Indian Art in Hartford , Conneticut and is the 2010 Trinidad and Tobago Film Festival commissioned artist. His work “NOW SHOWING” is the 2010 festival image. 

-Info and Photo supplied by Richard Rawlins

Blog Archive