Contemporary Arts as Political Practice in Singapore by Wernmei Yong Ade, Lim Lee Ching

By Wernmei Yong Ade, Lim Lee Ching

This well timed assortment examines the modern arts as political perform, supplying severe perception into a few of the extra debatable conversing issues that experience formed Singapore’s identification as a country. targeting the function performed by means of modern arts in shaping Singapore’s political panorama because the nation celebrated 50 years of independence in 2015, the authors examine how politics is usually perceived as that which limits the flourishing of the humanities. Contending that each one paintings is political, and that every one artwork shape is a sort of political perform, this assortment examines ways that the perform of artwork in Singapore redraws the limits that conventionally separate arts from politics. It severely examines the tenuous dating among the humanities and politics and provides a well timed reevaluation of the connection among the humanities and politics. In doing so, it opens a discussion among inventive perform and political perform that enhances the mutuality of either, instead of their exclusivity, and redefines the concept that of the political to illustrate that political involvement isn't an easy subject of partisan politics, yet has an inherently aesthetic measurement, and aesthetics an inherently political one.

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One can only write. It is only when the work that is written is seen, recognised, by others that one potentially becomes an author. At the point when one is seen to have a certain authority over that particular work. 23 Avital Ronell. (2012) Loser Sons: Politics and Authority.  21.  Tham. “No guarantee that PAP will be in government after polls: Khaw Boon Wan” in The Straits Times (8 September, 2015). 24 J. ” but also who authorised the author? Or, even who authors the author? And if we open the register that the removal of body hair is a kind of authoring, a writing onto oneself, to how one is seen, the dossier of a writing that removes, a writing that erases, has to also be attended to.

While Lee’s Bildungsroman charts the growing-up and coming-out encounters of a gay conscript in Singapore, during the global AIDS epidemic, Mbembe’s criticism amalgamates Congolese literature with news reports from Cameroon and Kenya to advance an argument of weak postcolonial independence that is both violent and obscene. 2 In this chapter, I contend that comparative literature is useful to show how these two texts share certain trajectories with each other and also elicit a single historicized theme that transcends the standing geographical and epistemic limits.

A few days before the performance, another piece in the same publication queried: “Is it art-making? ” It went on to quote a local playwright: “I think what Zihan is doing is not merely a re-enactment, but a neutering of the work for consumption by a new generation of audience …” A reader’s letter declared in response: “Cutting pubic hair again? What is it trying to show? There is absolutely no meaning in performing such an act. ”11 As if transposing the effect of the public’s gaze, its unrelent10 See Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley and Los Angeles, California: University of California Press, 1994), for a study of the sight-knowledge complex.

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