International exhibitions

International Archives 1st half of 2015


Simryn Gill, Hugging the Shore

NTU Centre for Contemporary Art Singapore (China)

27.03 - 14.06.2015

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Simryn Gill, Hugging the Shore, NTU Centre for Contemporary Art Singapore

E-Flux Press Release


NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) presents Hugging the Shore, the first major solo exhibition in Southeast Asia of Simryn Gill (b. in Singapore, lives and works in Australia and Malaysia). Simryn Gill's artistic practice carries a sensitivity towards the everyday and unpacks the complexities of our world from various angles and subjectivities. Much of her work results from a process of sifting through and exploring her immediate surroundings in acts of collecting, writing, reading, archiving or photographing.















Exhibition 27 March - 14 June 2015. NTU Centre for Contemporary Art Sigapore, Block 43 Malan Road - Gillman Barracks - Singapore 109443. T. +65 6460 0300. Hours: Tuesday-Sunday noon-7pm, Friday noon-9pm. Free admission.










 





 











May 2006 (2006) is an ambitious body of work consisting of 800 photographs that traces a one-month journey by foot in the artist's neighbourhood in Sydney. The work is paradigmatic of Simryn Gill's approach in "understanding the place as a verb rather than as a noun, which exists in our doings: walking, talking, living."

Simryn Gill's new work,
Like Leaves (Syzygium grandis) (2015) uses leaves from the Syzygium grande species of tree, or the Sea Apple Tree which is found throughout the coastal areas in parts of Southeast Asia. Presented as pinned leaves, the work draws attention to surface, material, its process of making, but also the lifespan of the work which gradually perishes throughout the exhibition time.

The metaphor of Hugging the Shore, a reference to John Updike's 1983 collection of essays and reviews, can be conceived as a way of seeing and approaching the world that traverses throughout Simryn Gill's large group of works. It is an act of stepping back, as a way to allow ourselves be absorbed into the overall picture.

 










Simryn Gill, photograph from Standing Still, 2000–03. Courtesy of the artist.





© ArtCatalyse International / Marika Prévosto 2015. All Rights Reserved

Simryn Gill, photograph from Standing Still, 2000–03. Courtesy of the artist.

The exhibition brings together a series of large body of works that reveal the artist's specific attitude towards ways of seeing and understanding the world around us. The photograph series are all the result of a durational process, of hours of looking, wandering and collecting translated into hundreds and hundreds of photographs.

Standing Still (2000–03) captures a large number of ambitious building projects across Malaysia abandoned before completion in the wake of the Asian financial crisis in the late 1990s instigating a reflection on modern ruins and historical layers that define our landscape.


The photograph series Dalam (2001) comprises 260 photographs of living rooms taken across West Malaysia over a three-month period. Dalam which means "indoors" in the Malay language looks into the production of interior space as a portrayal of ourselves but also the fragile relation between host and guest, the conventions and boundaries that define the delicate realm of hospitality.