MONSTER (a poem of love and its opposites). HAPPY VALENTINES DAY.

Premiered at Oxford University UK, at the ‘Human- Machines, Mechanized Modernity, and Mass Subjectivity between Asia, the Soviet Union, and North America in the Twentieth Century’ conference, June 18-20, 2009. Music by Philip Tan. Special thanks to Aaron Moore, Tina Chen, Sarah Teasley. Created by a predecessor of Kaidie’s in a previous life, Kai Syng Tan, May 2009 Singapore. The opening lines in the 2nd act of the film are taken from Cascando by our most beloved Samuel Beckket.

Monster is a video poem seen from the point of view of an elderly woman, who really is an imagination by the artist of herself in the near future. Monster addresses man’s eternal obsession in modifying his body and nature in a compulsive bid to ‘improve’ himself. Such notions as the frailty of the body & flesh, and how our body-machines decay and imaginations of means through which we sustain/prolong/improve on them, are teased out. With the classic allegory of Frankenstein as a point of departure, the work posits the Man vs. Machine/Monster argument as a complex and layered relationship that is at once dependent, violent, obsessive, loving and destructive. While ‘I’ (Man) have created ‘you’ (Machine) out of a need for survival, ‘you’ have fought with me against (my) nature, but entrapped me nonetheless; my selfishness, greed, ambition and insatiability has led me to create an indomitable Monster/Mutant that is increasingly out of control – yet I remain faithful, and continue to love, nurture, and protect you. And I get hungrier still. This man/machine dance/wrestle is a powerplay that is paradoxical, grotesque and tender at the same time. Incorporating text, performance and animation, Monster is accompanied by a haunting soundscape made up of sounds from construction sites – an all-too familiar sound that fills the artist’s ears in the high-tech Asian miracle city that she hails from. The shiny images of the city-state in a relentless process of construction and rebuilding are juxtaposed with personal, intimate images of everyday objects photographed in the artist’s home – used, forgotten, dusty as they are. We go up close to the skin of an elderly lady, whose life overlaps that of her daughter’s. Happy Valentine’s.