0///: Daylight to Moonlight, Exhibition and Performance in Constant Transfiguration

Essay by Amanda Ariawan, edited by Valencia Winata, April 2023

Photo by Ho Ai Ling

Maneuvering between an exhibition space in the daytime and a performance site in the evening, '///1 0///' is a multidisciplinary collaboration between visual artist Lee Mok Yee, composer and musician Ng Siu Yee, and dancer and choreographer Steve Goh. This experimental project challenges conventional methods of showing and experiencing art, and questions the spaces in which they are presented. Through a transfiguration of space and time – which allows a constant shift and oftentimes an overlap between visual and performance art – '///1 0///' invites visitors to explore the dynamic interplay between art, technology, and storytelling.

The project explores how technology has expanded the possibilities of storytelling through art. The artists, who witnessed the dawn of the digital era, find enjoyment in the process of tinkering with tools, machines, and codes, to expand traditional art forms. The artists view this approach as an attempt to explore the possibilities that exist beyond our usual way of thinking and seeing. The space of Temu House is divided into four sections that allow visitors to encounter a range of techniques, including interactive video installation, light sculpture, and kinetic sculpture.

When the sun sets, the monsters come to live; the artworks transfigure as sounds and movements activate them during the evening performances. Here, the idea of a monster – a creature embedded in many narratives yet remains abstract and undefined – echoes the mythical, fluid, and imaginative nature of the show. In the context of '///1 0///', the monster also becomes a multi-interpretable symbol that encourages visitors to engage with larger and sometimes difficult themes: the fears and anxieties that

In the corner of the first floor of the exhibition space stands a triangular wall, creating the illusion of a pyramid. Here, viewers are greeted by The Animal That Became a God (2023), a single-channel video projection that explores humanity's relationship with the natural world. Through a series of images capturing various attempts to control and manipulate natural elements, such as drilling into wood or turning on a faucet, Mok Yee prompts contemplation of our influence over nature. The daytime exhibition features an audio accompaniment synchronized with the video, while at night, a dance and music performance One Zero (2023) takes center stage. As Steve moves around the space, a kinetic sensor detects his movements, which in turn alter the sequence and speed of the video projection.

Located in the same room is a vibrant sculpture in the style of a typical Chinese New Year decoration in temples in Asia, entitled The Storyteller (2023). The sculpture takes the form of a monster's hand and claw that grips the floor of the exhibition space. During the performance Skin (2023), this sculpture is complemented by a black-and-white projection of Mok Yee's charcoal drawings on the surfaces of the sculpture, creating a new visual experience that transcends its initial kitschy appearance. This transfiguration invites viewers to engage with the artwork in a more multifaceted manner. Meanwhile, Siu Yee fills the atmosphere with her Vibraphone, exploring new sounds in a departure from her more classical instruments. Steve’s awaited choreography and dance unfold in response to the surrounding environment of the sculpture. This performance takes place in parallel with a few others, creating an immersive and multi-dimensional experience that visitors can choose from.

The final room on the ground floor, The Murmur (2023), is treated as a hidden chamber where Mok Yee displays an installation that delves into the concept of the inner monster within everyone. As visitors enter the room, a sensor detects their presence, causing the mirrors – placed next to metal bowls on the walls –to vibrate. Additionally, chairs with vibrators installed are provided for visitors to sit on. To the artist, vibration corresponds to unrevealed emotions that are kept inside one’s heart, which may eventually resurface. The only sound heard in the room is the vibration itself, excepting for the time of the performance. The performance, entitled Secret Room (2023), once again sheds light on the duo musician and dancer, Siu Yee and Steve, as they respond to the visual artwork’s themes.

On the second floor of the exhibition space, visitors shall encounter two works. The first is A Singer (2023) which involves creating an experimental kinetic sculpture that projects. For this, Mok Yee has chosen to attach a projector onto a baby swing. The video work that is being projected from the constantly moving device features a soprano singing Ave Maria. However, their voice can only be heard perfectly whenever the light sensor – hidden behind the screen – receives direct light from the passing projector. Mok Yee explains that “The song, composed by Schubert in 1825 was not created for spiritual purposes, but is widely recognised and treated as a religious hymn.” The work puts the audience in an uneasy position, as they experience two elements of opposing nature: technology and spiritual belief.

Secret Room (2023)

Whispers(2023)

Secondly, still on the second floor, a single-channel video on TV presents a critical examination of the world of social media. By collecting comments from Instagram covering a range of topics and handles, Reading Comment (2023) highlights the way we consume information on these platforms without much emotional investment. The video featuring Mok Yee reading comments collected from Instagram in a flat, indifferent manner underscores the impersonal nature of online interactions. The artwork prompts reflection on the concept of online identity and the anonymity it affords us on social media platforms. During the live performance aspect of the artwork, Whispers (2023), Siu Yee combines various sounds made by objects and conversations, as well as Mok Yee’s voice reading the comments, into music. This piece encourages critical discussion on our relationship with the Internet and how we navigate the excessive information that flows through it.

Despite what visitors might think as they reach the end of their journey inside Temu House, the party is not over yet. A unique installation in the gallery's parking lot awaits. A modified car, transformed by Mok Yee into a musical instrument by adding lights and sounds is activated as a performance tool. The activation of the car as a performance occurs in parallel to Whispers (2023), leaving the audience with a choice of experience to immerse in. This unconventional piece entitled Boxes (2023) once again offers visitors a fresh perspective on experiencing art, which perfectly embodies the exhibition's aim to push boundaries and challenge perceptions.