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 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
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 (titled "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.
The exercise was included in the exhibition The Unfaithful Octopus
curated by Dr. Roger Nelson at NTU ADM Gallery, Singapore in 2023
and would travel to MAIIAM Contemporary Art Museum, Chiang Mai in 2024.
For a pdf of the screenplay send here.
Sound work conceived by berukera
UHD Aznjunglizt featuring Taufiq Rahman, Nurhayd Naufal and cinotiUHD
flex banner, 400 x 900 cm, 2022 - 2024
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
I❤nd$c_pe
(6273726432 – g’deh sky berry ❤ with view of Ghertie)
featuring Jac Hartje, Lee Khee San, @budyoung and Lé Luhur
2023
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
l♥ndsc_₱€$s (poienxcinoti) featuring rawanxberdenyut, Aleezon, Lee Khee San,
Lé Luhur from NUS Museum's South and Southeast Asia Collection
and Autaspace, CC1, Dahlia, Alawiyah and 风), 2023
Polymethyl metacrylate (Plexiglas Tiger), epoxy resin (Samurai 2K) on synthetic polymer paint (Golden), chameleon carbon fiber polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminum alloy, honeycomb retroreflective tape (GripOn), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate, varied textiles salvaged and woven with polyester thread, xylene on polyvinyl chloride. 413 × 1730 cm.
The work was commissioned by the 12th Seoul Mediacity Biennale and
National Arts Council Singapore. Courtesy of the artist.
Above is an installation view of the 12th Seoul Mediacity Biennale THIS TOO, IS A MAP, Seoul Museum of Art, September 21-November 19 2023. Curated by Rachael Rakes and Sofía Dourron.
Photo: GLIMWORKERS. Courtesy of the Seoul Museum of Art
