Re-presentation #1
Deep Field Cinema
Deep Field Cinema
Re-presentation #1

Deep Field Cinema looks into the present and future conditions of image making and discovering where media and technology can take us; particularly in the current global situation of remote working, living and surviving, as well as digitally connecting with other humans across geo-political and social-political spectrums.

If you've enjoyed the screenings, we'd love to hear your feedback here. Thank you!


Toh Hun Ping — SG

23:00, 2020, Produced in SG.
Videos presented as live VJ performance by Urich Lau.

Visual music for meditations on a life suspended. To be performed live by a VJ, the animated loops are created entirely via stop-motion using digital scans of ceramic reliefs.

WARNING: The work contains strobing and flashing imagery. It may also cause discomfort to persons with trypophobia.

Sung Nam Han [IAFT] — JP/KR

60:00, 2021, Produced in JP.

Sung Nam Han will reconstruct video works and personal videos shot casually for several years as a fictional diary movie. Each clip is compressed, transformed, and crushed to become fresh and shocking moving images, and exchanged with real live performance on the day.


Beyond A Chamber That Externalises All The Time, or Séance
Chong Lii — SG

29:10, 2019, Produced in SG/NL.

Three characters grow restless in a city where the urban trappings of identity and history are idealised and left unquestioned. They converge, only to entertain the notion of self-exile. In this volatile search for another reality, a strange and otherworldly theatre of their making begins to actualise. Set in Singapore’s protective yet fragmented environment, the country’s inherent archipelagic nature speaks to the elliptical and the absurd. A vapour of anonymity and madness, once in undertow, gently resurfaces.

HER RED 그녀의 빨간색
Rafäel [IAFT] — BE/ES

20:00, 2020, Produced in KR/BE.
Credit: RECYCLART Art Center.

This is a new performance recorded in Brussels, Belgium – exclusively made for Singapore Art Week 2021 – Deep Field Cinema, entitled HER RED 그녀의 빨간색.

“According to reports, South Korean soldiers shot and killed a South Korean man who was trying to cross a river into North Korea.”


Keynote Presentation:
What could 2050 look like? An artful, agile and atypical vision amid and beyond the pandemic
Dr Tan Kai Syng — SG/UK

What could or should 2050 look like? How can we mobilise technology to work with our bodies and minds to create sights/sites of artful intervention? Will we augment reality? Will we see with our body? Will we kill cinema? Will we kill the film school? Will we rid digital poverty and create digital wealth? Will we celebrate the visionaries? Will the art school up its game? Will artists fight big tech? Will artists be finally appreciated (and properly paid) as not just makers of art objects, but makers of change, thought leaders and creative problem-solvers? Apart from ‘curating’ perfect ‘insta’ posts and another blockbuster art show, will curators be tasked to refocus on healing and guiding — which are the original meanings of ‘curating’ — and use art to heal culture wars and bridge social divides? By the next generation, will schools stop failing or boring people who can’t sit still, and teach across the arts and sciences, to create the next generation of Leonardo Da Vinci-s, whose dyslexia and ADHD are behind his prolificacy and polymathy? Will we finally look out for and look after one another? Drawing on and extending a keynote lecture that painted a vision of a neurodiversity-led future that Tan presented to 130 Royal Society of Arts Fellows last summer, this new performance-lecture is a love letter to cinema and raises a few questions to invite us to think about a post-pandemic future that is more inclusive and creative.

Roundtable Discussion

Featuring all artists.
Moderated by INTER—MISSION.

INTER—MISSION speaks with the artists of Deep Field Cinema to uncover insights about their work in relation to present and future conditions of image making and discovery, and where art and technology can take the moving image.

2. Analogue Is Dead (6:10, 2018)
3. A deep black breath (4:13, 2018)
4. When I am among trees (10:00, 20219)

Jake Tan & Ernest Wu — SG

Produced in SG.

1. The experimental film explores the generative aspects of producing visuals with the aid of analogous procedures with nature as the photographer.

WARNING: This video may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.

2. An idea about the relationship between technology and society; tackling the impending doom of analogous televisions on 1 Jan 2019. ANALOGUE IS DEAD means to provoke thought about the relationship between humans and machines and what it means to become obsolete to society. Televisions would float around a space, seeming somewhat sentient. The tangibility of what it means to consume and to be a consumer.

3. So here you stand, on the edge of a black horizon not alive, not dead. A deep black breath explores the memories, visions and the fear of confronting a near-death experience.

4. WHEN I AM AMONG TREES references the title of a Mary Oliver poem. In the poem she speaks of the joy to be with trees and the call to ‘stay awhile’ amongst them. The work was filmed in front of a white backdrop placed under some trees, in hopes of catching a leaf in the midst of falling. The work serves as a meditation, focused upon a single act of looking and the mindful attention required to notice its fall. In ten minutes, four leaves fall.

Wanderlust (Retina Mixed Memories)
1. Dreamland (1:57)
2. COVID (2:14)
3. Dreamlights (1:01)
4. Tornado (2:20)
5. Thunder (1:03)
6. Away (0:15)
7. Elements (13:52)

Cecile Chagnaud — FR/SG

2020, Produced in SG/FR.
In collaboration with Muriel Ferraro, mezzo soprano (voice and sound).

What do we see when two images or more are mixed, transformed, destroyed? Which sounds or music emerges from memories? Something that doesn't belong to our everyday experience, but an inner sight. Mixed and reversed images question us about reality and temporality. If a story appears, it's only thanks to editing, juxtapositions and superimpositions. What is a memory? Is it linked to joy or melancholia? What do we see when we close our eyes? Wanderlust. In the video to come, I will mix footages that I recorded in Singapore with a sound score created in France.

Darkness is to space as silence is to sound
Tasman Richardson [IAFT] — CA

16:27, 2018, Produced in CA.

FM radio signals from around the globe are paired with their locations as seen from google earth satellite imaging. The video micro fragments are then triggered live and spread out over three screens with sound panning to match left, centre, and right. The result is the forced harmonized interplay of many nations, producing an omnipresent survey of our relentlessly witnessed world.

28 Aliwal St, #02-04, S199918