Deciphering Clothes: The Troublemakers’ Wardrobe
Opening date : 15 November 2018
Guest registration : 7:00pm
Opening reception with Aliens of Manila Performance : 15 November 2018, 7: 30pm
Mask-Making Workshop : 8 pm
Exhibition period : 15 November 2018 – 12 January 2019
Opening hours : Monday - Friday, 1030 am to 7pm
Saturday -12 pm to 4 pm
Closed on Sunday & Public Holidays
The twelve emerging Asian artists exhibited here invite guests to view their wardrobes. The observer might find themselves feeling uncomfortable, embarrassed, or report an unpleasant experience, since some pieces are distorted, overly exaggerated or reveal (private) body parts in an unusual way. What makes us feel uncomfortable when we encounter the work shown here? Why do we feel strange? Is it because the works deviate from our expectations of how ordinary people dress? Who are these ordinary people and what do they wear in their daily lives?
These artists who are contributing to Deciphering clothes: The Troublemaker’s Wardrobe have chosen to focus on groups of people considered trouble makers by society, due to their willingness to declare themselves as queer artists, questioning gender categories and their place on the spectrum from feminine to masculine.
Artistic practice acknowledges that dressing can serve as camouflage, such that biological men dressing in women’s clothes or vice versa highlights those characteristics of women or men that have been formulated and naturalized by society. The artists here question femininity and masculinity by mimicking it in an exaggerated or preposterous way, as by depicting oneself as having an uncategorized gender that deviates from gender norms - revealing the illusion of gender binary by suggesting its power and normativity is a fiction.
Deciphering DWELLING: HOME IS WHERE THE ___ IS
Opening reception: 26 September 2018, 6 pm
Soap-making Workshop: 26 September 2018, 7 pm
Exhibition period: 26 September – 30 October 2018
Opening hours: 1030 am to 7pm (Mondays to Fridays), 12 pm to 4 pm (Saturdays)
Hatch Art Project inaugurated its first exhibition series with its second instalment, titled Deciphering Dwellings: Home is Where the ___ is.
Home is generally accompanied by powerful emotional bonds that engage us with a sense of nostalgic, almost mythical vision. A nostalgic understanding of home is a homogenous, peaceful, safe, and secure. A home allows people to be integrated within a meaningful and all-embracing structure through social and physical solidarity.
Thus, the common expression goes ‘Home is where the heart is.’ However, there are other considerations when thinking of home. The eight emerging Southeast Asian artists in this exhibition suggest how a home is lived and experienced by people as a place.
They are: Azizul Nasir (b. 1991, Malaysia) Bitto (b. 1987, Philippines) Eko Bambang Wisnu (b. 1985, Indonesia) Issay Rodriguez (b. 1991, Philippines) Limhay Chhum (b. 1996. Cambodia) Ngoc Nau (b. 1989, Vietnam) Thong Yoong Onn (b. 1995, Malaysia) Tuan Mami (b. 1981, Vietnam)
Deciphering Foods: You are what you eat
Grand opening date: 4 June 2018
Opening reception: 4 June 2018, 7pm – 10pm
Exhibition period: 4 June – 16 August 2018
Opening hour: 1030am to 7pm (Mondays to Fridays), 12pm to 4pm (Saturdays)
Hatch Art Project inaugurates our first exhibition with, Deciphering Foods: You are what you eat. This group exhibition will feature bold, raw and critical works by emerging artists from Asia Pacific region: They are the Bakudapan Food Study Group (Indonesia), Deborah Loh aka Wondebra Loh (Singapore), Iqi Qoror (Indonesia), Jazel Kristin (Philippines), Nguyen Van Du (Vietnam), Shim Hyejung (Korea) and Yaya Sung (Indonesia).
Press Luncheon - 4 June 2018
RIJSTTAFEL: FLAMBOYANT TABLE BY ELIA NURVISTA AND MONIKA SWASTYASTU
Rijsttafel (rice on the table) is a legacy of the Dutch colonial ways of eating in Indonesia. It is deeply rooted with the reminder of its history of feudalism, labourer, power, inferiority and nationalism.
For a Dutch colonist, the Rijsttafel embodied in the East Indies which was the jewel in the crown of the Dutch Empire. The length and breadth of their colonial holdings arrayed on a single table, like culinary tribute from the natives which also depicted the power as superior ruling class.
By presenting the performances and a sprawling banquet table featuring “rice in the table”, we will experience and re-question our eating culture in the context of Eastern civilization and behaviour.
This performance is created by Elia Nurvista during her residency process in Delfina Foundation, London, UK (2013) and will be conducted by Monika Swastyastu, the member of Bakudapan Food Study Group.