Who is Chen Guilin ("Gary Ng")?

It was first reported on 26/10 that "Gary Ng"--often labeled as Singapore's 'Edison Chen'--has been arrested. Police said women had come forward and made police reports, saying they had been cheated of money by this man. (It is later revealed that his real name is Chen Guilin.)

What kinda amused me is that the capture of this prolific--albeit indecent--photographer is due to the accusation of 'cheating'. And money.

And that leads to his downfall. A really long fall. Just see the list of charges he has to face! (Highlighted in bold, red below in the article.)

HE WAS dubbed Singapore's Edison Chen after he posted self-made videos of his sexual encounters with several women on the Internet.

The man called himself Gary Ng and shared up to 33 sex videos online since September 2008.

But as it turned out, it was a fictitious name.

His real name is Chen Guilin.

And now, Chen, 28, who is unemployed, is in trouble with the law.

He has been slapped with 21 charges, including one charge of possessing 1,100 obscene pictures and 437 video clips containing pornographic material on a laptop and two portable hard drives.

He was first charged in June and turned up in court on Wednesday to face more charges.

In all, Chen faces four counts of housebreaking, five counts of forgery, six counts of possessing someone else's identity card and two counts of criminal breach of trust.

He also faces one charge each of cheating, misappropriation and possessing a fraudulently obtained or stolen laptop.

Chen allegedly broke into the home of one of his victims between Aug 31 and Sept 5, 2008, and stole items totalling more than $36,000.

One of the items he allegedly stole was the victim's OCBC bank cheque book.

Over six days in September that year, he is said to have forged the victim's signature on the stolen cheques and induced the bank to give him a total of $81,150.

Forged signature

He is also accused of breaking into the home of another victim twice and later forging the victim's signature on a stolen HSBC cheque to obtain $10,000.

Chen, who is out on bail, is understood to have been arrested after several victims made police reports.

The New Paper reported last year that someone calling himself "Gary Ng" gained online notoriety after he posted his self-filmed sex videos on various amateur porn sites and sex forums.

Most of the videos began with him in office wear before he undressed.

He was careful to protect the identities of his partners by editing away the faces of the girls and himself, but he gave the videos titles based on the the women in them.

There were videos titled "Gary Ng vs Beer Promo Auntie", "Gary Ng vs Friend's Niece" and "Gary Ng vs Chua Chu Kang girl".

He claimed that he filmed his escapades, which took place at home or in hotels, and put them online in order to get back at women.

He said that he became disillusioned after three consecutive failed relationships.

Among his charges, unlawfully possessing someone else's identity card and housebreaking carry the heaviest punishment.

If convicted, he can be fined and jailed 10 years on each charge.

From Asiaone, "'Singapore's Edison Chen' slapped with 21 charges".

Kick-Ass is kick-ass!!

Oh, and have I told you that the movie, "Kick-Ass" is inspired by a comic by the same title? Wikipedia has more to say about the comic.

Yes, I finally managed to watch "Kick-Ass"! Yeah. Always enchanted by the movie's trailer.

It's a fun show. Inspiring even. Especially this part when he fought 3 thugs as they ganged up against one guy. It's a real bloody, hopeless fight and Kick-Ass is determined not to give up.

Diner Fight Guy 1: The fuck is wrong with you, man? You'd rather die for some piece of shit that you don't even fucking know?

Dave Lizewski (aka Kick-Ass): The three assholes, laying into one guy while everybody else watches? And you wanna know what's wrong with me? Yeah, I'd rather die... so bring it on!

Banksy Simpsons Intro - Tragic...but COOL!!!

Check out the clip, "Banksy Simpsons Intro". More about Banksy, do check the official website here http://www.banksy.co.uk/.

He also has an entry in Wikipedia, "Banksy" and take a look--partially quoted from Wikipedia: "Banksy is the pseudonym of a British graffiti artist, political activist and painter, whose identity is unconfirmed. His satirical street art and subversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling technique."

He's that talented, alright.

The winner of MediaCorp Subaru Impreza Challenge is...

...definitely the media! Funny how Greed can be such a motivating factor for one to win the challenge. Just ask George Lee who won in 2002 after a torturous 81 hours and 32 minutes. This year there will be 400 contestants from 8 nations.

Greed indeed knows no boundary.

The ultimate car challenge is back and participants from all over the region are now in Singapore, ready to quite literally put their hands on some cars!

Into its ninth year, the MediaCorp Subaru Impreza Challenge kicks off on Saturday at Ngee Ann Civic Plaza.

With 400 contestants from eight different nations namely, Philippines, Malaysia, Indonesia, Hong Kong, China, Thailand, Taiwan and Singapore, this year's challenge will see the inclusion of Vietnamese participants for the first time.

Contestants have to place their palms firmly on the cars, and the last person standing will drive away with a Subaru Impreza 2.5MT Sedan.

Sounds easy but it's not. The longest record so far since this challenge was introduced in 2002 is 81 hours and 32 minutes by George Lee in 2008.

"The way to last in the competition is to tell yourself that you are not in the competition. It's a mind over matter sort of tactic," MediaCorp Radio's assistant programme director Margaret Lim said in an interview with Primetime Morning.

Another tip: strategise your five-minute breaks

"Five minutes is all they have for breaks every six hours so in that five precious moments, are you going to answer the call of nature, go for the food first, are you going to get a massage?" she added.

While the Thai, Indonesian and Singaporean contestants traditionally perform better, first-time participant Phan Nguyen Quan Hung who has been conditioning his body through endurance training, is well prepared for the challenge.

"[I have been] jogging about two kilometres a day in my park near my home and eating healthy food and just go to sleep early," said the Vietnamese.

Apart from the grand prize of a Subaru Impreza 2.5MT Sedan, other prizes up for grabs include the Freshest Contestant award and the Friendliest Contestant award.

From Channel NewsAsia, "Hands geared up for MediaCorp Subaru Impreza Challenge".

Nordic IPO

Nordic Group IPO with the offer price of 20 cents per share. And with only 2 million shares set aside for public. I don't think I'll have a chance to get even a single lot. Heh. One can just try.

Nordic Group, a homegrown supplier of automation systems to the oil and gas industry, plans to raise about S$20 million through an initial public offering on the Singapore Exchange.

Nordic is offering 110 million new shares priced at 20 cents each. Two million shares have been set aside for the public, while 108 million shares are available by way of placement.

Nordic plans to use S$6 million of the proceeds to increase production capacity, expand its sales network and fund its operations in China.

It plans to deploy more sales personnel in areas where shipyards are concentrated -- such as Guangzhou, Jiangsu and Liaoning -- by the end of the year.

Another S$1 million will be used to expand its maintenance-repair-overhaul and trading divisions so as to tap into more opportunities for conversion and retrofitting works for existing vessels.

The remaining proceeds will be used for product development, acquisition of companies and technologies as well as general working capital.

The public offer opened on October 29 and will close at noon on November 8.

Listing and trading of Nordic's shares on the SGX Mainboard are expected to start on November 10.

From Channel NewsAsia, "Nordic Group to raise about S$20m in IPO".

NORDIC Group Limited - a solutions provider for the marine and offshore sector - is expecting to raise $22 million from its initial public offering (IPO), which opened yesterday.

The group - which is headquartered in Singapore - is offering 110 million new shares at 20 cents each. Two million of the shares are available for public subscription and the remaining shares will be offered by way of placement.

The 110 million new shares represent about 27.5 per cent of the group's enlarged share capital of 400 million shares.

The firm's activities fall into three business divisions - systems integration, maintenance, repair and overhaul and trading, as well as precision engineering.

'We have seen the bottom of the industry and we should be riding the up-cycle from here,' said Chang Yeh Hong, chairman and chief executive officer of Nordic Group.

Of the net proceeds of about $20 million, $6 million will go towards ramping up its production capacity, sales network and operations in China. A sum of $1 million will be spent on expanding its MRO and trading division, while $6 million will be held as working capital.

The group plans to issue dividends of up to 30 per cent of profits attributable for financial year 2010 to shareholders.

'This is to reward our existing shareholders and welcome new shareholders. We do not have a dividend policy yet,' said Mr Chang.

Among the risk factors highlighted by the company in its prospectus were its dependence on the marine and offshore oil and gas industries, as well as its reliance on the Singapore and China markets.

The IPO will close on Nov 8 at noon. Trading of the shares is expected to start on Nov 10. Collins Stewart is the issue manager, underwriter and placement agent of the offer.

From Business Times, "Nordic Group to raise $22m from IPO".

Be the first in Asia to see the RED EPIC Camera!

Be among the first in Asia to see the RED EPIC camera, powered by the new 5K Mysterium X sensor. Ted Schilowitz from Red Digital Cinema will be in Singapore to show off the EPIC and screen a selection of of RED footage, including some of the latest footage from the MX sensor that will go into the upcoming EPIC camera.

Singapore's own Widescreen Media will talk about their experience of shooting Stereoscopic 3D feature films on the RED ONE ,and will demo S3D footage shot both locally and overseas. They will also discuss workflow and post production options for S3D with RED . AV8 Media will also be on hand to discuss training and system integration for Stereoscopic 3D. Don't miss this chance to see the future of digital film making. This event is sponsored in part by Seika Corporation, RED's first authorized reseller for the Asia region.

Date: 4th November, 11am - 1pm

(Registration starts at 10am, Level 6 and lounge event to follow from 1-2pm)

Venue : The Cathay Hall 2
The Cathay Cineplex
Levels 5 & 6, The Cathay
2 Handy Road
Singapore 229233
Nearest MRT Station: NE6 / NS24 Dhoby Ghaut

Brief outline:

  • Introduction and keynote address by Ted Schilowitz

  • Demonstration of EPIC

  • Screening of RED ONE Mysterium and Mysterium X footage

  • Introduction to Stereoscopic 3D by Widescreen Media

  • Screening of 3D Footage from Widescreen Media

  • Demonstration of Stereoscopic 3D workflows with RED and Iridas

  • Training and Integration overview by AV8 Media

  • Q & A

Don't miss this chance to see the future of digital film making! Limited seats available! First come, First served! Please RSVP to training@av8.com.sg or call us at (65) 6339 1321.

Viewpoint from a filmmaker -Ting Szu Kiong

We continue with a series of responses from local filmmakers on the current regulation and/or censorship system in Singapore. This is an ongoing project initiated by a group of students from LASALLE. Discussions and exchange of views are encouraged between members of the public and arts practitioners on the regulatory issue of films in Singapore. View our previous interviews here.

We find out what local filmmaker, Szu Kiong has to say:

1. During the process of making a film, have you ever felt restricted by any regulatory boundaries set by MDA? If yes, in what ways?

For my case, I have not felt restricted because I have never produced violent, sexually explicit, and racially, religiously or politically sensitive films although my films can be quite artistic. My films are "healthy".

I like to add that in my personal experience, MDA / SFC is not entirely close-minded. My first short film, MY KEYS, portrays the Goddess of Mercy, which is a religious figure, in a mischevious way. My second short film, MICHELLE, shows a melancholic woman walking in streets and enviously gazing at loving couples. At the end, we learn that she's a transvestite yearning to be a normal woman. Before I made my fourth short film, THE FOREST SPIRITS, people threw wet blanket at me saying that SFC would only support films with local flavors and never support the wuxia genre. These films are all supported by SFC.

2. If for artistic purposes, would you make a film which you know might attract censors or cuts but still continue to do it anyway? Why?

If it is a short film which involves low budget and I feel strongly for, I would probably make it anyway. There are many film festivals around the world which might be more tolerant. If it is a feature film which is likely to be banned, I rather not because I am not a rich filmmaker. I would likely choose to make feature films that can reach out to all ages.

3. In the Arts Community Position Paper, it is suggested that regulation should be implemented in place of censorship, as the former involves objective classification that is not politically-motivated. What is your view?

It sounds good because regultions should be clearer.

4. Two of MDA’s guiding principles behind its regulatory work are to uphold community values and to safeguard national and public interest. What is your view?

I guess such guidelines are common in many countries. Most people should agree that filmmakers should not make films that are biased against a minority group, or any religion. Of course exercising the guidelines can be controversial and even colored with prejudices. However, it is a double edged sword because how the government acts and the mentality of the majority are related to each other. Often, the conservative group wins because of the government's support. So, the government has to change its perception and take steps to educate people and clear prejudices.

5. Have you participated in any discussion programmes or feedback consultations with regards to content regulation initiated by MDA? Would you participate in future? Why?

Nope. But I don't mind participating.

6. What do you have to say about the censoring/banning of content in films screened in local theatres which are still obtainable on the Internet?

This is like a case of a parent forbidding children to do this and that at home, but the parent can't stop them from doing those things out of home. People in the arts community would question the rationale of banned contents while they can all be accessed on the Internet. I think this kind of train of thought is dangerous because it means that since porn can be obtainable on the Internet, why ban porn in theatres? So, I advice people should not reason like that.

Want to add your 2 cents worth? Join us in an open discussion on facebook

Red Hot Masala Mix 2 at Sinema Old School

Director Pugalenthii's (Deadly Secrets) red letter day

My (Jeremy Sing) shot with the elegantly dressed programmer, Rajesree, an ardent fan of SINdie!

Group shot - SINdie + the poly lecturers (from left: Michael Kam, Jeremy Sing, Melody Chow, Raymond Tan, Rajesree Ramasamy)

Nicholas Chee (founder of Sinema Old School) rushing through the door under the watchful eyes of the golden fortune cat.

Cast and supporters of the films - the guy who played the effeminate mama shop owner in Michael Kam's Masala Mama is second from left.

The unforgettable 'Batam' scene where the Batam girl speaks with a funny accent!

Michael Kam answers to the many curious 'Why make an Indian film' questions

The directors were asked to pose with the audience as the background as part of the Showoff's group photo's signature style

Step into the directors' shoes here - a view of the Q & A from the director's chair, enjoy the video!

Airport by Yin Zhaoyu

Tang Contemporary Art – Bangkok

Yin Zhaoyu 2010 Bangkok Solo Exhibition

Time: 4th Nov 2010 – 4th Dec 2010

Address: Tang Contemporary Art, Basement 28, Silom Galleria, 919/1 Silom Road (soi 19), Bangkok 10500, Thailand

Opening Ceremony: 4th Nov 2010 (THURS) 18:00 – 20:00

Tang Contemporary Art (Bangkok) is pleased to announce the exhibition, titled “Airport”, of Yin Zhaoyu will be held from 4th Nov 2010 to 4th Dec 2010.

Basic Infomation
Depicted in the natural landscape and portrait, the landscape paintings fused of the real images, colors alternating lights and shadows. This is also the most poetic depiction for the nature of human creation. Joseph Marroad William Turner(1775-1851), which was the most influential British landscape painter, with its skill, exquisite techniques to give the natural landscape emotional expressions, especially in light, air and moisture. The expressions bring into the work the subtle changes of nature.

In the field of contemporary art in China, Yin Zhaoyu is known for his style of landscape painting. Throughout the development process of paintings of Yin Zhaoyu, we can identify the techniques and it's depicted objects, Yin shows the unique ethos, that is, the color shifts from the natural state into the comprehensive mind of a personal perspective. The ample of exaggerated colors, actively changing and morphing within onto the other, these colors are the reflection of the emotions and ideas from the artist.

This time, the artist selects the airport as his main object of creations. In those vast and open artificial landscapes, the color that the artist used changes as if giving a spirit to the airport transforming it into an object of expression. In the images and the environment, we have always had a vague feeling of volatility and saw the ups and downs, the audience was also brush driven by the traction under the color of the artist, which leads to a direct association of the work's creative concept. Because of this connection with the viewer, the artist is able to establish attributes as an emotional landscape.

For Public and Media Enquires, please contact the gallery at +(662)–630 1114 Fax: +(662)– 630 3264 or e-mail bkk@tangcontemporary.com

Afterthoughts on Sinema Showoff! Masala Mix 2


That was the word that first popped into my mind after all six films were screened. And aptly so; after all, the event was named Masala Mix for a reason, no?

I use that food reference in both a good and a bad sense. The films screened in the event were all radically different, both in style and in content; their genres spanned from comedy to horror. It is always nice to have variety in any short film screenings. At the same time though, there were the obvious standouts among the lineup.

It is probably tricky to curate a screening of Indian shorts made by local filmmakers when so few have been made to begin with. Again, I give props to the curating team for sourcing out the films and helping audience get acquainted with a couple of gems - Michael Kam's wacky Masala Mama, which competed at the Berlin International Film Festival, was my favourite. SINdie's very own Jeremy Sing also had his film Moving, screened during the event!

The only real problem with the nature of the event was the expectations audiences carried with them into the theatre. The name of the event had them anticipating a line up of films exploring/commenting on the Indian identity in Singapore, but most of the films were really not concerned with such an issue. Many of the films were simply using an Indian cast member either to explore interracial tensions or simply to situate their protagonists in a predominantly Indian social setting.

There are always inherent problems in expecting an "Indian film" made by local filmmakers. What really defines a film as Indian? Going in a similar tangent, what for that matter, is a Singaporean film? I think such clear distinctions for a local brand of Indian film do not yet exist. It is very much up to local filmmakers to shape the contours of what qualifies as an "Indian film". I think some of the audiences were half expecting a Bollywood style short film made by a local filmmaker, but I think that insipid. Drawing on such cultural influences is fine, but Indian culture rooted in a local context is always going to be different from the culture among Indians anywhere else in the world.

Anyhow, I think the event was still smartly named. If anything, the mix of films was good. Some of the films like Masala Mama tapped into cultural traditions - or idiosyncrasies, depending on how you see it - and drew laughs from the audience; others like Moving explored interracial tensions; Deadly Secrets utilized horror conventions prevalent in South Asian films and weaved them into a narrative anchored in a Singaporean context. None of them claimed to be an "Indian film", but I think eventually, as more local filmmakers go on to make films exploring Indian characters in Singapore, a clearer identity of such a subgenre will start to arise.

As of now, I still maintain that some of K. Rajagopal's earlier works come closest to being the quintessential "local Indian film".

As for the crowd, I would say that it is always great to see a full showing at a screening of local shorts. There were more than 130 people present and most of the audiences stayed for the Q and A session. And this time round, no McDonalds eating couple in the cinema, stinking up the place with the stench of oil and fries!

Stayed tuned for the next Showoff! session on Nov 16, which is a continuation of the Masala Mix theme. You can check out the facebook event page here.

P.S. If you guys were in the hall and heard a girl relentlessly bursting into laughter during the screening of some of the films, that was probably SINdie's Melody Chow (sorry, Mel =D). Ok, so some of the films were probably unintentionally funny at parts, but at least they were entertaining, and we're not complaining!

Tweeting Berlin #3 - Asian Hot Shots Berlin 2010

Out at the flea market , deep in thought about whether to buy or not buy...

Jonathan Chong stands up to Mathias' questions on his film 'Father'.

(Looi) Wan Ping's 'White Days' and Wilson (Yip) 'Madam Chan' both clinched second prize in the feature film and short film category respectively! Congrats!! After the awards, we headed to the nearby pub for the closing party. Booze, hugs and smokes aplenty :) Jonathan shared with me his cigar, a puff, got me choking. Wasn't used to it. But that's why we are here!

Signing off,

Wesley Leon Aroozoo

Paranormal Activity 2 - not 2 much, eh?

Paranormal Activity 2. Check out the chilling trailer here. And if you can't resist the spoiler, check out the plot here, you wimp!!

PARANORMAL Activity 2 came out on top at the box office this weekend, pulling in US$41.5 million (S$53.9 million) with its pre-Halloween horror story of ghosts caught on nanny cams.

The Paramount sequel was enough to scare off comedy stunt film Jackass 3D, which dropped to number two with US$21.6 million in ticket sales, according to weekend estimates by box office tracker Exhibitor Relations. Spy thriller Red with Bruce Willis, Morgan Freeman, John Malkovich and Helen Mirren took in US$15 million, moving down a notch in the weekend ratings to third place.

Hereafter, Clint Eastwood's dovetailing drama about three lives touched by death, opened in wide release, netting US$12 million, which put the movie starring Matt Damon in fourth place.

It overtook The Social Network, the story of the founding of Facebook, which came in fifth with US$7.3 million in box office receipts during its third weekend in theaters. Secretariat, the Disney movie about a racehorse that won the Triple Crown, was close behind in sixth place at US$6.9 million.

Life As We Know It, a romantic comedy about two singles thrust into the role of parents after their best friends die in a car crash, took in US$6.1 million for a seventh place finish. Legends of the Guardians, Warner Brothers' animated owl drama, dropped to eighth place with nearly US$3.2 million in ticket sales.

Ninth at US$2.7 million was The Town, Ben Affleck's fast-paced flick about a bank heist in Boston. Easy A, about a high school girl who lies about losing her virginity to improve her social standing, was number 10 with US$1.75 million.

From Straits Times, "Paranormal Activity 2 tops".

Selina Jen exposed Carwey as Ping Cheat!!

3 pongs and yet only ONE read? Carwey, oh, Carwey. How great thou art...as a Ping cheat...NOT! (Screenshot above from Ping.sg 25/10 about 10 PM)

Mdm Sivakami Sivanantham vs MOE

I don't know whether to laugh or...no, definitely to laugh! An amazing case of a teacher accidentally locked, injured herself in her quest to escape her 'false imprisonment' & now sues MOE. Unbelievable.

A TEACHER, who was accidentally locked in a school on a Saturday afternoon and injured herself trying to get out, is suing the Ministry of Education (MOE) for negligence and for not ensuring a safe working environment.

Madam Sivakami Sivanantham, 39, also contends that MOE has caused her to suffer wrongful or false imprisonment.

At the start of the hearing on Monday, the teacher at Zhangde Primary School testified that the school moved to its new premises in Tiong Bahru in 2005.

On Feb 11, 2006, she went on a Saturday to do some work and prepare her classroom for the following week. Leaving her handbag in the teachers' staff room on the second storey, she was in the classroom till 12.30 pm.

She then found that the roller shutters to the staff room and the ground floor exits of the staircases all locked. Her mobile phone was in her handbag so she tried shouting for help but to no avail. In a 'state of frenzy', she climbed out a ventilation gap at a staircase and jumped down some 3.7 metres. She injured her right ankle and had to hospitalised and awarded medical leave for more than a year.

From Straits Times, "Teacher sues MOE".

Appeal for Eye Witness : Hit and Run

This a similar looking car which was hit

A grey Volkswagon Polo was rear ended while parked overnight along Seng Poh Road (towards the direction of Tiong Bahru Road) between 14-15th October 2010.

The car owner suspects a low profiled car is likely to have hit his car as the damage crumples upward, meaning the offending car went under the rear.

The impact was so great that the axle broke. (That means this idiot was driving at a break neck speed and someone could have been killed!)

If you have witnessed the accident, please let us have the information so that we pass it to the police.

The poor VW owner will be carless for the next 2 months because of some cowardly reckless driver.....and that driver is still on the road!

Viewpoint from a filmmaker - Jeremy Sing

A 2010 Arts Community Position Paper on Censorship and Regulation has recently been developed by Arts Engage, a network of arts practitioners from various disciplines. The paper proposes and recommends for the current system to be replaced by one where there is a clear separation of regulation and censorship.

A group of students from LASALLE take to the streets and the internet to interview members of the public and local filmmakers on their views and opinion concerning the current film classifications system in Singapore.

Here is a response from SINdie's very own blogger/filmmaker, Jeremy:

During the process of making a film, have you ever felt restricted by any regulatory boundaries set by MDA? If yes, in what ways?
Not really. If commercial objectives were secondary in making a film, I will go completely with my guts because films cross geographical boundaries and every film will find its audience somewhere. So if it is a good piece of work that's kept my artistic integrity intact, I will not be too concerned that the authorities might ban it.

If for artistic purposes, would you make a film which you know might attract censors or cuts but still continue to do it anyway? Why?
Yes, I would. How can replace the word 'fuck' when you need the character to say it? If it is in Hokkien, it proves my point even more. There are just no substitutes for certain elements in film.

In the Arts Community Position Paper, it is suggested that regulation should be implemented in place of censorship, as the former involves objective classification that is not politically-motivated. What is your view?
The whole basis of the Position Paper is to lobby for the us to be treated more like adults. Adults are ready to judge for themselves what is right and wrong and what are the boundaries of being creative and being distasteful. This line is very fine. But when we are given the space to decide where the line is, it leads us to start thinking critically about what is acceptable and what is not. If we decide something is not, there is whole-hearted acceptance. We are not blindly placing 'conventional' judgements on thing.

Two of MDA’s guiding principles behind its regulatory work are to uphold community values and to safeguard national and public interest. What is your view?
On community values, it sounds sensible on the onset but what we forget is that the censors, like to err on the side of being conservative or 'the best way not to get into trouble'. They are after holding in highly-watched positions, doing sensitive jobs. On national and public interest, I find it hard to define what it is and politics can often get into play (and I guess this is universal, not just in Singapore).

Have you participated in any discussion programmes or feedback consultations with regards to content regulation initiated by MDA? Would you participate in future? Why?
No. This is mainly due to my busy schedule. But when I have more time in the future I would like to. I believe, in my position, running SINdie, a widely-read film blog, we have some social responsibility to my readers.

What do you have to say about the censoring/banning of content in films screened in local theatres which are still obtainable on the Internet?
Perhaps the censors see public screening of 'objectionable' films is public endorsement of them. So banning them is more a gesture and it does not ultimately block off all possible viewing opportunities of the film. But I wonder they do not explore restricted screening arrangements? Perhaps they may start to now given the recent changes announced.

Want to add your 2 cents worth? Join them in an open discussion on facebook

Manga 'Opera', Japan Anime Live coming soon to Singapore?

Yeah! That will be FUN! (Hey, check it out, they even a trailer in YouTube, "JAPAN ANIME LIVE - OFFICIAL TRAILER - FULL Version"!)

THE heroes of Japanese manga cartoons are preparing to take Europe by storm in a new 'pop opera' featuring a wild mix of martial arts and music billed as the world's biggest manga show ever.

The tour starts on Saturday in Paris before going on to Belgium, Germany and Italy. AFP was invited to a rehearsal in the city of Pomezia near Rome, where Japanese performers spoke about a unique show tailored to Western audiences.

'My character is a happy boy with guts and he never gives up to reach his goal, whatever it costs,' said Shiina Taizo, 24, who plays the role of Naruto.

Taizo is a star in Japan but little-known in Europe. He said this is actually no bad thing: 'Here I can visit all the sights with complete freedom.' The show is being organised by Japan's biggest production houses and publishers of the comics and cartoons, which are wildly popular in Japan and have a growing following especially in Europe and the United States.

Japan Anime Live will feature previously unpublished episodes and performers sing in Japanese. The lyrics appear in phonetic spelling on a giant karaoke screen with the English titles: 'Tonight,' "You'll find a way' and 'Sail.' The stage is dominated by a giant Japanese drum and multiple screens show manga characters with multi-coloured hair, futuristic uniforms and giant eyes.

The manga aesthetic reigns supreme at this ultra-Japanese show but producers said they're not only expecting manga fans to come. The show, which lasts two and a half hours, is divided into five sections shaped around five major manga series: Naruto Shippuden, One Piece, Bleach, Fullmetal Alchemist Brotherhood and Gundam Series.

From Straits Times, "Manga 'opera' hits Europe".

Tweeting Berlin #2 - Asian Hot Shots Berlin 2010

'Here is a screenshot from 'Zomberlin' a little joint project by the Singapore contingent that attended the previous ASHB in 2009.'
'No words can describe this look of ...... constipation.'
Above left to right: Victric Thng, Aishah (from Substation), Royston Tan, Wilson Yip, Mathias Ortmann
'The Singapore Hot Shots screening was a wonderful selection of Singapore films, one of the best curated program of Singapore films I have experienced. We also had the opportunity to watch Royston's 'Fish Love', which was amazing!'
'The filmmakers over here are happy with the screening and would like to give a Big Big thanks to Mathias, AHSB peeps and MDA for making the experience possible.'

On Day 3 which was 22 Oct, we had a lively Singapore panel discussion.... We then went on to attend 'Pink films'. It was too much to handle, so we left halfway. We scared...... No la. More like bored n revolted.'
'Day 4 has just begun!'

Wesley Leon Aroozoo, from AHSB 2010 in Berlin

Tweeting Berlin #1 - Asian Hot Shots Berlin 2010

'Big gang of Singaporeans here in Berlin... We went to visit he Jewish museum this time round, only 4 Euros to get in.'
'We ate at Rayan Chicken, some kebab place.... really cold here in Berlin!... but the AHSB people are really nice here.'
'Like the previous time, we met up with up the Singapore ambassador again. And we all went to catch Glen Goei's movie, 'The Blue Mansion'. It had Emma Yong naked full frontal, without censoring. Nice.....'

signing off, Wesley Leon Aroozoo (that's me above in the picture foreground!)




13 November 2010
Show Time 9PM
@ Nospace Gallery


Artist Profile:
Originally from western Wisconsin, but now living in Bangkok, Justin released his first album in April, 2010.

Drawing inspiration from the likes of Ben Harper, Joe Purdy, Alexi Murdoch, Jack Johnson, Waylon Jennings and David Ruffin, Justin possesses a raw emotion in his vocals that reveals a soul laden with pain but redeemed by music.

While the topics of love, faith and death are not new, Justin’s approach is signature in that his voice offers you every emotion he experienced in his writing process.

"(Justin's) voice starts, and always returns, to where you’d traditionally think it belongs: at a mellow, soothing pitch. But as the lyrics become more meaningful and guitar strokes more purposeful, his voice booms for a few unexpected moments. The raw emotional output speaks to his passion for music, of which he has plenty to go round." - Trevor Kupfer, Volume One (USA)

Artist Links:

Nospace Gallery

21/108 Block D, Royal City Avenue (RCA)

Bangkok Thailand 10320

084-1341184, 02-6414040



Universal by ZOR: Alicja Łukasiak & Grzegorz Drzod

Universal by ZOR: Alicja Łukasiak & Grzegorz Drzod

Supported by
The Capital City of Warsaw (Poland)
Adam Mickiewicz Institute (Poland)

December 16, 2010, 7PM – 10PM @ Nospace Gallery

ZOR: Alicja Łukasiak & Grzegorz Drzod

Changing of Traffic Movement (ZOR) is not the type of gallery which the traditional art environment has accustomed us to. Neither is it an institution which reacts to artistic and political disputes and trends. It is not just a space and it is not managed by art councilors. Its form and shape is determined on the artists, critics and curators as well as people of various professions who enjoy art out of their own free will and who participate in the activities of ZOR in order to make changes.

ZOR was established by two people: Alicja Łukasiak and Grzegorz Drzod.

Taking into account the fact that both Her and Him are artists, it can be said that by opening up to group activities they want to directly influence the potential of the environment in which they happen to appear.This is therefore, an attempt to create an active space, an area which is conducive to creating art on all planes.

Since mid 2003 ZOR has been operating at Smolna Street in Warsaw. Apart from holding regular weekly presentations on 13 December that year ZOR initiated the Marshal Low Project which was a group demonstration against censorship in art. In the spring of 2004, as the guest of Laboratory Contemporary Art Center in Warsaw, ZOR was presented a mini festival of new generation of artist. All the projects, including the weekly as well the larger ones, are organised in compliance with the ''changed formula'' principle. Although the ZOR artists seem to stimulate each other they work on their own projects and invite others to cooperate with them.

Universal by ZOR: Alicja Łukasiak & Grzegorz Drzod

“Grzegorz Drozd's artistic strategy is characteristic for juxtapositions of remote worlds, playing with conventions and producing situations too complex too describe. The project Universal features the use of art as a tool that the artist manipulates in order to unveil a new dimension of reality behind various tensions and contrasts. Following the chain of events, we finally get to the moment of the confrontation of avant-garde artists with everyday life of the Dudziarska housing estate inhabitants. The multi-layered story behind it makes us explore further, even more involving levels of the event occuring on the outskirts of Warsaw. Somewhere between an incineration plant and a railway track, 'in Poland, that is nowhere'. The act of repetition of simple geometrical forms on the walls of small blocks of flats with broken glass window panes may be perceived as a perverse test of avant-garde. Mondrians and Malewiczs, on one hand, dominate concrete surfaces; on the other hand, seem completely defenceless. Deprived of the history of European painting, museums with their musty atmosphere, the murals sting the eyes of the viewers like naked, tragicomic giants left at the mercy of local people and their comments. Thus, I ask myself the question, what is the point of reproducing colour and solid figure sequences from the beginning of the 20th century? What is the sense of repainting these large-scale compositions if no one will appreciate them in any sense? What is the point of exposing high art to risky confrontations and ridicule?” (Excerpt from the text Rudowęglowiec Ibuprom by Piotr Sikora, 2010).

The 1917 Revolution rejected everything that had the bourgeois flavour, or could be associated with the need to create a new art for a new society. The success of Revolution resulted in the victory of constructivism which aimed at the organization of man's life with the use of simple and functional forms. From that time on art values most what is functional, simple and rationalism-based. “The painting which used to be an icon to a bourgeois has died. The artist changed from a reproducer to a designer of the new world of objects.”

1918, the Netherlands. A couple of artists, members of a newly established group, announced a manifesto starting with words: “There is old and new awareness of time. The old one aims at the individual, while the new one at the universal. Their goal was to attain pure abstraction, i.e. total rejection of sensual reception of reality. Freedom from the limitations of individualism and randomness became the way to reach the absolute truth. Piet Mondrian wrote: “If modern people have not attained the ultimate goal, i.e. order and harmony, it means that the reason for it is man's individualism and uncontrollable subjectivism that introduces anxiety and tragedy in human existence.”

1993, Warsaw. Local self-governments came to an agreement in the matter of the construction of a housing estate at Dudziarska Street designed for socially unadapted families. In order not to establish a ghetto, the town hall came up with the idea to settle 30 percent of policemen families over there. The plan yet did not come out, and in 1995 the housing estate was settled by social misfits. In newly built flats there was no access to hot water or central heating. The blocks of flats constituted the only infrastructure. Three four-storey buildings with 216 flats altogether, were located near the incineration plant, in the close neighbourhood of numerous railway tracks cutting off effectively the Dudziarska inhabitants from the city, in the area surrounded by electricity pylons.

The nearest population is the prison for women surrounded by a high wall with barbed wire. The inhabitants of the new housing estate, detached from social relations and made to cover the distance of about 2.5 km to get to the nearest buildings, keep choosing the short-cut way across the railway tracks, which often ends up in a tragedy.

In 2010 ZOR begins work at the Dudziarska housing estate. His objective is to make the recipients think over and discuss the question of social exclusion. The artists believes that through art he will be able to focus the society's attention on the problem of the Dudziarska housing estate community. At the same time, he tries to analyse the ideas of modernism and contemporary visions of the construction of social order.

Thanks to the financial support of the Capital City of Warsaw, Adam Mickiewicz Institute.

Nospace Gallery

21/108 Block D, Royal City Avenue (RCA)

Bangkok Thailand 10320

084-1341184, 02-6414040



Production Talk on Tiong Bahru

Let's go behind the scenes of Tiong Bahru through the eyes of Nooraini Shah and Wen Piao who have kindly shared their 2 cents' worth on the film.

How did you get involved in Tiong Bahru?
(Nooraini Shah): My film lecturer from Lasalle College of The Arts introduced me to the film. A year ago, I watched Joe & Christine's works screened at
Tiong Bahru Golden Village Theatre and during the Q&A session they announced that they will be embarking on a project in Singapore.
Thus, my journey in Tiong Bahru commenced.

(Wen Piao): Well i got involved with the Tiong Bahru project as i was an intern at Zhao Wei Films during the school holidays. Zhao Wei Films was a major collaborator on this project.

Anything memorable happened during the filming process?
(NS): I was the second Assistant Director and was responsible for the talents. Despite them being non professional actors they were very cooperative
and everyone were passionate about their part in the film. They would often share about how obliged they were to be a part of the story due to their
strong sense of belonging to Tiong Bahru. When two heart meets, and for this would be their heart and the film's, I think that is what made things memorable for them and for us.

(WP): Well aside from the weather acting up and it was raining constantly during the shoot, i was deeply impressed by the professionalism of one of the amateur actresses. She was between 80 - 90 years old and had a major role in the film. All her scenes were shot on the last day. In spite of her advanced age, she endured the entire 12 hour working day without taking much rest. During the shoot, she walked up and down and around the marketplace and hawker centre. My grandma is of a similar age but her knees give her problems and she needs her daily nap. I was deeply impressed.

How do you find the treatment of Tiong Bahru by the 2 filmmakers?
(NS): It was a fresh collaboration of ideas between fiction and non fiction that birthed a story about Tiong Bahru. On set, the filmmakers
sculptured unprofessional actors into actors. They were spontaneously lucrative in ideas, especially in escalating a scene of the script
to a higher pedestal. Their artistic reach to the film were commendable.

(WP): I found their vision of the civic life project provided great insight into life in Tiong Bahru. Although the market has been recently renovated, it still retains the charm of Old Tiong Bahru, which comes through into the film.

Does it portray the Tiong Bahru you've been familiar for all your life?
(NS): I am not in a large degree familiar to Tiong Bahru, however I am emotionally attached to the place due to my close
aunty who lived there for decades. Tiong Bahru may not be seen very much as a heritage venue due to the
shopping malls and new HDB buildings built. Despite so, the history lies within the people. And its these few
memories that are of heritage value more than mere buildings that could be replaced, and memory never do.

(WP): I've only been frequenting Tiong Bahru the past 5 years so i can't quite say i've been familiar with Tiong Bahru all my life, but its definitely an accurate portrayal.

Are you familiar with Tiong Bahru? What do you think the shoot missed out?
(NS): We were running round the clock on the last day of shoot, I'm sure Joe & Christine has got all the footages they needed.
However, I am certain if time permits, they be capture more cutaways and spend more time on dialogue scenes.
I would have loved more exterior shots too of the building for 'the shell is the content before the content itself'.

(WP): Yes i am familiar with Tiong Bahru. Personally speaking of course, it would have been nice to shoot and highlight more of Seng Poh Road, as well as the individual streets such as Eng Hoon Street or Seng Poh Lane. My favourite areas include Loo's hainanese curry rice and Wu Hu Aquarium which i often frequent! More locations would be Old Tiong Bahru Bak Kut Teh during lunch time or some of the cze char stalls where locals gather and frequent in the evening such as my all time favourite, Sum Cheah Kee, which unfortunately has been chased out by the main tenant. A hidden niche would have been the Chay Yan street, Yong Siak Street and Moh Guan Terrace area, which is very green and quiet.

Did they have some special personal takes or interpretation of Tiong Bahru of Singapore that you stuck with you?
(NS): They was a forest shot which was taken at the hawker centre and it was visually a breath of fresh breeze. The directors took very interesting shots given location and manipulates the space differently which fascinates me sometimes. It somehow shows Tiong Bahru differently than what i thought when i read the script.

(WP): None come to my mind.

See Scape Art, Music and Onsen

24th October 2010

warming in Onsen, listening to live music, eating and chillin' out

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