IN 2011 JANUARY 11, WE (Kaidie, Kai die, Kai live, Kai Syng Tan, dead Kai) POPPED UP AT ASIA TATLER (Singapore).
As you well know, we are highflying, highlycultured, highlycultivated, highbrowed and hightea-ed. At the same time, we are thick as a slice of 14-month-old Tesco’s nofrills white-sliced bread (made of highly-refined plain flour!!), and our humour, as you our dear Reader knows well by now, is lowbrow and scatological. Yeah baby. Nonetheless, at the very least we do have a sense of humour. We are uncertain if many other people can say the same. Our life as it is has been fluctuating high-and-low as usual, but a few weeks ago it was temporarily associated with the high society, as we (all of us – Kai, Kaidie, Kai Syng, Kai Die, Kai Live, Kai Lives) were featured in the Tatler Asia (Singapore) magazine. Not our usual strasse shall we say, as our usual strasse is concrete (specifically on the pavements of lovely large cities) as well as ones-and-zeroes (on the information superhighway). Here is the lowdown (how could we possibly resist such a cheap pun??).
Our Bras Basah Station permanent public art work post #4: 2 RE-PRESENTATIONS
Above: A trailer of the 29-minute video cycle; below: a re-presentation of Desyphus in-action on the site in Singapore, by wacky Singapore filmmaker Chew Tze Chuan. As we have not seen the work ourselves, do upload it if you run into it, and tag it ‘bbs’!
A LIFE 2.0 RE-PRESENTATION OF A LIFE 1.0 SHOW THAT IS ENDING IN A FEW HOURS: Kaidie’s metamap exhibition #6.
Where do statues go after they die? Statues die when people stop looking at them (Chris Marker and Alain Resnais, 1953). Kaidie’s metamap is of a less resilient material than bronze, and, like Kaidie, has a prescribed lifespan. It begins dying this evening 17:00hrs, and from 11:00hrs tomorrow (after our morning run), we will remove the papers, tapes, blu tacks, glue dots, marker pen marks, other marks, tracks, traces, bits, pieces, things, remnants, et ceteras. We will paint over the walls and floors where we had been, and leave the space as we found it, as if we had never been there, clearing all paths, as if it had never known existence in the first place (good for it) (for its own good).
That things die, that they die from one dimension, that they do not last, that they are one-offs, that they are transient and are not foolishly forever, that they can live on – if we so allow them to – in the realm of imagination, perhaps ever/even more animatedly, ferociously and zestfully, is a concept that we quite adore. (We – you, my Dear Readers, and us- have been there before, when we paid a pilgrimage to Heidiland in a bid to visit the legendary Heidi, who was all but absent, and how we were relieved that she could not be found in Life 1.0, for it only strengthens her presence in our Life 2.0). We relish in the cruelty of this, as we adore how it allows us to train and celebrate the/our power of imagination. (‘I’m wondering what this all means to you’, he asks. I am silent. ‘You are immaterial; you do not exist. In fact, you are already dead,’ I want to say, which to my mind is not negative, in our same Heidi-logic, but which would inevitably be taken to be otherwise. So I keep silent.)
The work dies from Life 1.0, our primary world, but/and migrates to / returns to / re-starts in Life 2.0, in the virtual and imaginary realm, and exists as if it has done all this while, independent of the one in the physical world. One is not lesser than the other. To be pedantic, the Life 1.0 metamap in the exhibition ‘came from’ Life 2.0 in the ‘first place’, with the 120 maps and images created on the screen, and having previously only existed in Cyberspace. Already, even as it is alive, we are re-creating Life 2.0 re-presentations of it, in a parallel realm. The work is the same work in either lives, but the Life 1.0 ‘version’ also completely differs and is independent of the Life 2.0 one. In fact, there is no ‘essential’ work. When we run restlessly between Life 1.0 and Life 2.0, we are re-creating the/a work again.
2nd row top left: photograph of Kaidie at work by fellow artist-exhibitor, Laura Malacart. Beside that is a sketch by Kaidie of the work, before she began. Middle: Kaidie, quite knackered by now, poses with fellow artists and exhibitors Deborah Padfield and Errol Francis at the end of the humid evening of the opening 25 June. in the next picture, Errol competes with Kaidie for Person With Most Number Of Countable and Accountable Teeth Award 2010. We are fighting neck to neck, shoulder to shoulder, and- of course we are expecting this- teeth to teeth, a tooth for a tooth, gum for gum. Who do you think should win? Bottom right: Pink poster Spillage indicates the title of the show. Bottom left: Kaidie’s hand-made wall text for her new hand-made wall-text-installation, 24 June 2010, 1 day before show opened. The masking tape on the wall were to be all licked up, of course. Kaidie’s Life 3.0 ecosystem tolerates no wastage (most of the time). Check out the ‘paper tippex’ on the right hand side of the wall text as well (since there is no undo button in Life 1.0).
IN THE PINK OF HEALTH: DAY 55: (ONE OF) KAIDIE’S MAPPINGS OF HER LIFE 3.0: NOT A WORLD OF BLACKS AND WHITES, BUT OSCILLATIONS OF IN BETWEENS.
If you can read between the lines and gaze between the greys and grays, why don't you test out this mapping in YOUR life?
KAIDIE WOULD LIKE TO ABANDON NONDON FOR WINTERTHUR (FOR GOOD). OR, WE (WHOEVER WE ARE) SHOULD/COULD WRITE KAIDIE OFF (ALREADY).
Kaidie no longer travels alone, but has a new travel companion, called 'Mini', who has an untrustworthy and unstable personality, or is simply temperamental, but is essentially a nice guy (I guess. We will find out. Watch this space).
To make the effort to leave; to make the effort to go; to be transposed and disoriented; to have one’s routines upset (only to desperately attempt to construct new ones, but haha, the timeframe is too short to allow one to do that); to take temporary breaks from my (step)mother tongue; to feign ignorance since I do not understand, which is, no doubt, my own fault but ignorance is blissful yes the cliche is true, so perhaps I deliberately do not want to understand; to have to start somewhere and hence say ‘greuzi’ to the immigration officer; to hear variations of the german language, including subjective, rusty ones; to not mind embarrassing oneself in order to show that one attempts, that one is making an effort; to doze on/off and drool while semi-asleep/awake in the constant rhythm of the near-empty cheap bus on its way to the cheap airport but to feel extraordinarily happy, happy not of dreams of arriving at a destination (no, no one looks forward to arriving at that tragic, cheap airport – and when there, cancel and zone off by replaying in ones head the 2nd movement of Gould’s rendition of the Emperor’s Concerto again, and again, and again, until the gates are open for boarding), but happy at the act of travel itself, the same happiness when in the middle of a run that is neither fast nor slow neither breathless nor breathful, and to feel happy knowing that one is happy; to have a new travel companion of a digital navigator; to undergo the tedium of travelling with a travel companion; to undergo the tedium of travelling with a travel companion with conflicting interests; to run an imaginary race with the digital navigator and to win it, because I arrived in Winterthur and am acclimatising to it but poor ‘Mini’ (which is the name we have given the navigator, – do not inquire why ) is still looking for his bearings and attempting to locate the Winterthur satellites; to have conflicting plans with this new travel companion, because he prefers / needs outdoors while his user detests cold; to forge temporary bonds with fellow trippers; to eat not knowing if it’s breakfast/dinner, or if one is even hungry in the first place; to go across time zones, climates, cultural barriers, stereotypes; to be shocked; to be gratified (temporarily); to feel repulsion that one is reminded of one’s otherness, even though one has long moved on from the tedious identity/sexual/gender/cultural/racial/power politics, but if the other has not, should one grin and bear it or ignore it or re-question one’s identity from scratch, but why should I, since I have long addressed their problems but they have not theirs! so it is not my problem if they (still) see me in a certain way; to be excited by difference; to be excited by exotica; to be judged exotic (again); to be judged different (again); to be judged exotic and different and to be angry about it and wonder why one should feel anger; stop looking at me, stop looking at me thinking you know what I am; go ahead and look I have long worked through this; to be anonymous; to stand out; to not stand out; to stand out for the wrong/right reasons; to compare; to not compare; to not have preconceptions, to start afresh, to screw up, to have false starts, to try again; because otherwise why come/leave/go?
So I do love travelling. Travelling as a noun/end, as well as a process/methodology/tactic.
Look at the images taken of my studio in Winterthur. For the past 4 weeks I was reading and writing at my desk for 15 hours a day in Nondon (sleeping 6, and then using 3 for exercise, showering, eating, defecating). I could kill Kaidie from Nondon and start afresh here. I could live here and read and write for 15 hours a day.
Kaidie was conceived in an other residency, in Summer 2006 in my previous life, in the beautiful, beautiful fortress island of Suomenlinna at Helsinki. I did not plan it, but being away allowed me to create the Kaidie that I am living now, 3 years later. My current residency has also afforded me the critical distance to slaughter Kaidie.
Also, Swiss tap water tastes awfully delicious. Not Nondon tap water, no.
Top, middle, ground (plus kitchen and dining). I love the middle bit.
TRIP-WITHIN-A-TRIP-WITHIN-A-TRIP: KAIDIE IN HEIDILAND!
Much as I love Nondon, I am travelling to Switzerland for a short break. I will reside in Villa Straeuli, Winterthur, for a short period. As I have never been, and the residence looks quite wonderful, you, my dear reader, must agree that I should feel terribly excited.
I will be visiting Heidiland, to meet my Facebook friend Heidi. Afterall I have appropriated my name, Kaidie from her. We are similar in many ways (female, ageless, having been born in theme parks, being cartoon figures) though she lives in the mountains. I persuade her to update herself and turn urbane, but she is stubborn like that, and insists that she is ‘timeless’. What sentimental tosh. But we do love her, do we not.
On 26 January Tuesday 2000 hrs, I will do a ‘live’ presentation at Villa Straeuli. Please do come! It is free of charge! It is my first Life 1.0 appearance. I can’t wait to see you, my dear Reader! And I am sure you feel the same. Don’t lie.
During my stay, I will also visit Dignitas. As someone who has the ability to specify her life and lifespan, I am interested to visit to understand and learn more about how we think about death, which is a vital part of life. In our inability to discuss death in an open manner, we mystify it further. Since life consists of cycles of lives, rather than calling this ‘suicide’ or ‘death tourism’, it would be more helpful to think of it as life tourism.
I am looking forward to my trip! It is a trip within my trip in Nondon; zoom out, and you can see this as a trip-within-a-trip-within-a-trip, since, as a Third Lifer, I am a traveller between Life 1.0 and Life 2.0. Perhaps I could even find the meaning of the meaning of the meaning of life – triply profound.
So, Come join Kaidie in Heidiland! This will be my 1st reallife appearance 2000hrs 26 January Tuesday. Apart from sharing images of my visit to the themepark, I will talk about my travels to the other themeparks of Life 3.0, Life 2.0 and Life 1.0. Entry free (voluntary donations).
