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featuring Darius Ou, mr. jalee, Megisba, Anu, Erik Molien Flower fka Mohamed Hadji Abdurahim, Saurapod and Waklu Daki
(Above) Excerpts from ‘There is no §ænt❤️‍🔥§hæaa~ in a hyprgrRD’. A work of autofiction, written as a prerequisite to Absolute Space AiR Program 2024: Summon! Dance! Carnival!’ Conducted at San Ho Art Lab, Tainan City, TW. An edition of two printed copies is available for reading on site. (Images above are screenshots composed by cinotUHD).

(Left) Cover of ‘There is no §ænt


§hæaa~ in a hyprgrRD’

(Right) A digital drawing of ‘Anu’, who inspired the writing of the book. Written by fæyur or fyerool darma as a nucleus to the presentation ‘COREMEMORY: §ænt


§hæaa’ presented by Absolut Space at San Ho Art Lab, Tainan City, TW.

The publication is designed with cinotiUHD and published by Perpustakaan Antara Galaksssi (PAGi), printed in Tainan City

An extension from the book are sculptural object synthesised with polyurethane of materials salvaged from Kenji Hayashi, Yi-Min, gogoro and offcuts from 旻欣網版印刷有限公司 Min Xin Screen Printing Co. Ltd. (Tainan City, TW) which includes materials like carbon fibres, nylon, copper, polyethylene, polyvinyl chloride prints salvaged, manufactured pine wood amongst many.

(Below) Photographs of ’Posteknorganika Specie: Mala Spicysiels' and Anu weaving/developing a core memory

Presumably captured by Erik Molein Flower fka Mohamad Hadji Abdurahim, undated

Image translation presumably with chlorophyll and synthetic polymer paint and inkjet ink on 90 gsm bleached paper

༄ with Anu, Darius Ou, mr. jalee, Megisba, Erik Molien Flower fka Mohamed Hadji Abdurahim Tekla Bądarzewska-Baranowska, Saurapod and Waklu Daki

A machine withdraws into its core memory drive as it surrenders into expiration. Amidst the clouds, a reverbing sound of Tekla Bądarzewska-Baranowska’s ‘A Maiden’s Prayer’, embedded upon by predecessing weavers, manufacturers and programmers plays in loop. Upon its wake, it rebirths into a rhopalocera. The work examines the concepts of time and expiration from the viewpoint of a rhopalocera. The work employs screenshots of essays, articles and lores that are knots to the keyword ‘malayo-polynesia’; interspersed with stock and generated images as a prompt in questioning on the dependence of technology, visuality and methods in web mining amplifying on the generated, degenerating and re-generating energies that art-making is dependent upon. 

Written by fyerool darma, sound composed and arranged by mr. jalee, Megisba and berukera. It contains a tune of Tekla Bądarzewska-Baranowska's Maiden's Prayer played by Waklu Daki on a Sonoma 14.5 iOS System, Garageband midikeys of 'Scroll & Glissant plugins. Text design and animated by Darius Ou (Studio Darius Ou) of a poem orated by Erik M. Flower fka Mohamed Hadji Abdurahim, edited by cinotiUHD. Contains stock images alongside generated images with Stable Diffusion, and screenshots of essays, articles, news, memes, reels - literatures interwoven with the keyword ‘malayo-polynesia’ on the archives of web 2.0, jstor amongst others, generated by cinotiUHD. 

The short received support from NTU Center of Contemporary Art Singapore and Absolute Art Space AiR Program 2024. It includes a portion from Pathfinder: A Pantun by Erik Flower and is presented in COREMEMORY: §ænt❤️‍🔥§hæaa~ as an extension of the book There is no §ænt❤️‍🔥§hæaa~ in a hyprgrRD

Photographs by megisba

l❤nd$c❤peSs r d❤t❤ w❤$teZz
featuring Aleezon, jonathan tan, LKS and Lé Luhur from Autaspace
2023 - 2024 

Polymethyl metacrylate (Plexiglas Tiger), carbon fibre and epoxy resin (NicPro) and printed cotton with synthetic polymer paint (Golden), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, honeycomb retroreflective tape (Grip-On), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate

Exhibition view courtesy of CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2024
for CHAT 5th Anniversary – ‘Factory of Tomorrow’ / Closeup view courtesy of Erik Flower for cinotiUHD
Pathfinder: A Pantun by Erik Flower

Installation view with components of installation at MAIIAM Contemporart Art Museum in Chaing Mai, TH. Photographs by Phuping Tankasem. Courtesy of MAIIAM Contemporary Art Museum.

“In this newly commissioned artwork, the artist provides customised, portable seating. One accompanying sound recording was arranged and produced by the artist’s collaborators berukera and gr834$ternl4if using a DAW with the plugin Berlin Techno Kit. Fyerool combines archival research and speculation around a historical figure named Erik Flower, formerly known as Muhamad bin Hadji Abdurahim, who was born in Johor Bahru and resettled in Berlin in 1917, and who Fyerool encountered in a 2021 essay by meLê yamomo [’Acoustic Epistemologies and Early Sound Recordings in the Nusantara Region: Phonography, Archive, and the Birth of Ethnomusicology’] that describes his acoustic and poetic works that were recorded in 1917 and stored in a Berlin sound archive. A second sound recording narrates a seance with Flower. “ Dr. Roger Nelson

The exercise was included in the exhibition The Unfaithful Octopus curated by Dr. Roger Nelson at NTU ADM Gallery, Singapore in 2023 currently at MAIIAM Contemporary Art Museum, Chiang Mai in 2024.

Here for a pdf of the manuscript. Sound arranged and designed by berukera with a polyphony of vocals in 2024.

Below, installation view of Pathfinder with Aleezon, Sharmini Aphrodite, berukera featuring Erik Flower, 2023

Shaped plywood, polyvinyl chloride, printed polycotton on
reupholstered camping chairs with pigments and coating (Samurai2K),
7mil polyester film, sound 

UHD Aznjunglizt featuring Taufiq Rahman, Nurhayd Naufal and cinotiUHD
flex banner, 400 x 900 cm, 2022 - 2024

Comissioned by the Lagos Biennale 2024, UHD Aznjunglizt featuring Taufiq Rahman, Nurhayd Naufal and cinotiUHD 2023 engages with the proposed but failed ‘Maphilindo Confederation' (Malaysia, Philippines, Indonesia) of 1963 and was first developed as part of ‘To A Faraway Friend: Afro Southeast Asia Project' at Asean Culture House, Busan, in 2022. Inspiration for the work includes Kitsch-men as Tourist by Ludwig Geisz (1960) and ASEAN 2030: Towards A Borderless Economic Community (2014) by the Asian Development Bank Institute. An inquiry into the extraction of technofossils among other things, the artist calls the work a ‘disadvertisement’; the title breaks down to Ultra High Definition (UHD), Azn (a vernacular spelling for Asian), and Junglizt, which is a play on the word jungle and can also refer to inhabitants of the ‘bush’ in inland areas of Southeast Asia.

Included in CAPTCHA as part of refuge: Lagos Biennale 2024

The work is an extension of the artist project 

The Sporadic Autaspace Report: 1963 Maphilindo Confederation & Its Provisions

(6273726432 – g’deh sky berry ❤ with view of Ghertie)
featuring Jac Hartje, Lee Khee San, @budyoung and Lé Luhur

Plexiglass (Tiger), hot sauce (Samyang), archival ink (MOLOTOW), Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Dja Dja Wurrung Country and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, fabric with polyethylene and rubber adhesive (Duck Tape), nonmetallised micro-prismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged cables and cords on wall installation dimensions variable. 

Installation view of the work, included in Collecting Debts and Other Bad Moods curated by Bala Starr 

Photo: Leon Schoots, Courtesy of La Trobe Institute of Art