Here’s a review about two of the installation in the exhibition 5 Stars: Art Reflects on Peace, Justice, Equality, Democracy and Progress in the Singapore Art Museum (SAM).
Raising Spirits and Restoring Souls (2015) by Zulkifle Mahmod
64-channel midi controller, solenoids, e-bows, amplifiers, piano/bass/guitar strings, copper pipes, midi player and others
Dimensions variable
Collection of the Artist, Singapore Art Museum commission
(Photo credit: Zulkifle Mahmod)
This installation by Zulkifle Mahmod is exceptionally capturing due to the effective use of sound, rhythm and technology. A huge maze of copper pipes spread along the towering walls of the gallery, with attached midi players and other gadgets. A metronomic orchestra of clinks and twangs are then played by the solenoid valves and e-bows.
Personally, I am intrigued by the clever use of technology in this installation. It is rather encapsulating as to how each beat along the pipes are precisely timed and how the resulting percussion is refreshing, catchy, yet somehow familiar. The presence of rhythmic movement by the echoes throughout the room evokes a sense of identity and alliance through collaboration.
Upon reading the artist’s description, Raising Spirits and Restoring Souls is actually inspired by our national anthem, Majulah Singapura. Through the process of distillation, the tune is simplified into percussion beats. Drawing focus to the line “Sama sama menuju bahagia” (Let us progress towards happiness together), Zulkifle examines the significance of it to fellow Singaporeans. This concept is further emphasized by its visuals. The maze of copper pipes spread throughout the room seems to represent the network within the Singaporean community, and how the same song (our national anthem) is echoed by every child in school every morning. Majulah Singapura is a familiarity to every Singaporean. However, the artist further ponders if the national anthem (specifically the idea of progress) really resonates with locals.
“Most of us believes that progress is a linear path; perhaps it is anything but.”
Another sound installation work by Zulkifle Mohmod: No Substance
https://vimeo.com/124501649 ☺
Bloodline of Peace (2015) by Suzann Victor
Fresnel lenses, blood and metal pins
4000 x 216 cm
Collection of the Artist, Singapore Art Museum commission
This large installation by Suzann Victor has a majestic, soaring impact on its viewers as they enter the gallery. The generous use of space within the room allows the artist to convey a strong sense of flow, through the arrangement and presentation of the quilt. This work is constructed by joining over 11,500 units of Fresnel lenses together, each with a single drop of blood in the middle, contributed by Singaporean individuals from key communities (armed forces, medicine, arts, etc).
My first impression of this artwork was the idea of beauty and perfection. From afar, the long glittery quilt suggests luxury and purity, and looks almost surreal. However, on closer inspection, the drop of blood on each lens indicated a much deeper meaning behind the work. Was the use of blood a representation of the little-known pain and torture behind something that was ‘perfect’ on the surface (child labour, blood diamond)? Or perhaps, a symbol of unity amongst a community of people who has worked through blood, sweat and tears to achieve success?
Upon reading the artist’s description, the Bloodline of Peace attempts to bring together a diverse range of Singapore through the rich gift of blood (a symbol of life, pain, health). Singapore has undergone decades of change and progress, through war, bloodshed, independence and urbanization, all of which would not have been attain without the unity of her people. Hence, the use of blood signifies the utmost sacrifice and willingness of a fellow Singaporean for the nation, and the hard won peace earned in the late 20th century Singapore. Finally, as each of these individual fragment are combined, a monumental quilt – the Bloodline of Peace, is made.
