Being a curator an extension of Kai’s work as a practitioner, researcher and educator. Kai enjoys navigating/negotiating her way through with practitioners from diverse fields, bureaucrats, stakeholders, audiences etc. She likes doing the thinking and thinking the doing: she researches, initiates, conceptualises, plans and sest up exhibitions and performances.[ppmaccordion] [ppmtoggle title=”South East Asian Games’ Closing Ceremony.”]
In 2013, Kai worked as a Visual Director – which she regards as a similar role to being a curator – in a large scale project. The extra-ordinary Philip Tan ‘s critically-acclaimed 8-minute multi-media performance, Celebrate the Extraordinary, commissioned by the Singapore Sports Council, was presented in Myanmar/Burma as part of the South East Asian Games’ Closing Ceremony. The following is the press release:
a dynamic performance in which sports and art comes together in an explosive mix. It is created by award-winning Creative Director, Music Director and Composer Philip Tan, whose sensational performance at the 20th World Orchid Conference (Olympics of Orchids) was described as ‘a world class event that bears resemblance to what China did for the Olympics’. The performers consist of students and young professionals who are members of the Singapore Soka Association. Also amongst them are young talents from the School of the Arts, as well as athletes, including freshly-crowned Silver Medalist of a Taekwando event at the SEA Games, teenager Chelsea Ann Sim. The performance is an exuberant showcase of the dynamic nature of Singapore and the SEA region. The sounds of Bhangra Dhol are juxtaposed with that produced by the pipa, while hip hop moves are synthesised with karate kicks. It also captures the joys and trials that an athlete undertakes to reach this level of success. This in turn reflects the dedication and passion of the performers, who have trained for almost 60 sessions – fine-tuning, re-strategising and transforming their moves along the way. We also thank our host, Myanmar. The performers sing popular Myanmar songs and dance to moves inspired by traditional and contemporary Myanmar dance forms, as the colours of the Myanmar flag, yellow, green and red, burst out on the large video screens. Celebrate the Extraordinary is Singapore’s unique way to thank the host nation Myanmar for their hospitality, and to welcome the world to Singapore in 2015 as she hosts the 28th South East Asian Games.[/ppmtoggle][/ppmaccordion]
2013: Visual Director, Lyricist, Closing Ceremony of the Handover Performance, 27th South East Asian Games, Myanmar. Directed by Philip Tan. Commissioned by Singapore Sports Council.
2013: Press. 2013: Visual Director, Lyricist, Closing Ceremony of the Handover Performance, 27th South East Asian Games, Myanmar. Directed by Philip Tan. Commissioned by Singapore Sports Council.
2013: As Visual director Kai worked closely with the multi-talented Creative Director Philip Tan to bring the 6-storey high LED screens to life!
2013: The brave dancers SOKA Singapore on stage (with cameraman on steadicam). Closing Ceremony of the Handover Performance, 27th South East Asian Games, Myanmar. Directed by Philip Tan.
2013: Philip’s theme was SPORTS AND ARTS. The critically-acclaimed 8-minute gig did just that – and more, mixing old and new, east and west. A true portrait of the hybrid Spore.
2013: Philip and Kai worked hard to create a contemporary look – and it did feel completely different from the big spectacle-2000-performers-traditional-epic take of the rest of the show presented by Myanmar.
2013: Press. The brave dancers SOKA Singapore on stage. with a singer from SOTA, and national athletes. Closing Ceremony of the Handover Performance, 27th South East Asian Games, Myanmar. Directed by Philip Tan.
2013: Press. The brave dancers SOKA Singapore on stage. with a singer from SOTA, and national athletes. Closing Ceremony of the Handover Performance, 27th South East Asian Games, Myanmar. Directed by Philip Tan.
2013: Press coverage for the show. Here’s the dynamic Creative Director and the indefatigable, fearless performers.
2013: With the Amazing SOKA Choreographer Pua Jin Wen, and the Wondrous Creative Director Philip Tan, and the mascots from Singapore and Myanmar. At Myanmar’s
2012: I was invited curator and Advisory Board Member, of the first DIFF. I initiated a partnership between the DIFF and the Slade. Films I curated include that by Liz Rideal and Patricia Townsend.
2008: Cinema South Festival, Sderot, 2km from the Gaza strip. Kai was an invited curator and created a programme of South East Asian Films, including the works of the amazing auteurs Apichatpong Weerasethakul and Garin Nugruho.
2008: Cinema South Festival. After the screenings each day, I held a discussion.
2008: The Rather Terrible Slaughter Of The Tour Guide: subtitled in Hebrew, at the Cinema South Festival.
2008: Cinema South Festival catalogue in which 2 essays Kai wrote appeared.
2008: Cinema South Festival catalogue in which 2 essays I wrote appeared.
2008: This is 1 of the essays I wrote for the Cinema South Festival catalogue. This unpacks the so-called South East Asian cine-essay.
2008: Cinema South Festival catalogue in which 2 essays I wrote appeared. One analyses the film programme I curated, of films by Apichatpong and others; one is on the ‘South East Asian essay film’.
2008: Cinema South Festival catalogue. The Festival was organised by Sapir College. It was opened by Shimon Peres!
2008: Cinema South Festival catalogue in which 2 essays I wrote appeared.
2008: Cinema South Festival catalogue in which 2 essays Kai wrote appeared.
2008: Cinema South Festival catalogue in which 2 essays I wrote appeared.
2004: Pictures of the performance Kai curated which opened the exhibition Twilight Tomorrow at the Singapore Art Museum. She invited Kawai Masayuki, Christophe Charles and Philip Tan to do a multimedia performance.
2004: Twilight Tomorrow catalogue that accompanies an exhibition at the Singapore Art Museum.
2004: Kai’s essay on the laptop performance and the 1-night multimedia performance she curated.
2004: My essay on the laptop performance and the 1-night multimedia performance I curated.
2004: My essay on the laptop performance and the 1-night multimedia performance I curated.
2004: My essay on the laptop performance and the 1-night multimedia performance I curated.
2004: Essay by Dr CJ Wan-Ling Wee about the performance I curated for Twilight Tomorrow.
2004: Essay by Dr CJ Wan-Ling Wee about the performance I curated for Twilight Tomorrow.
2004: Essay by Dr CJ Wan-Ling Wee about the performance I curated for Twilight Tomorrow.
2004: Twilight Tomorrow postcard, which Kai designed.
2004: Twilight Tomorrow postcard, which Kai designed.
2004: 4 items Kai put up at the Tokyo Wonder Site’s Artists’ Night.
2004: Tokyo Wonder Site: Artist’s Night: Kai curated a multimedia performance in collaboration with Dumb Type choreographer-dancer Takao Kawaguchi, and composer Christophe Charles.
2004: We explored the notion of ‘ma’ – so-called negative space – via images of the famous rock garden Ryoanji.
2004: Tokyo Wonder Site: Artist’s Night: Kai curated a multimedia performance in collaboration with Dumb Type choreographer-dancer Takao Kawaguchi, and2004: composer Christophe Charles.
2004: Tokyo Wonder Site: Artist’s Night: Kai curated a multimedia performance in collaboration with Dumb Type choreographer-dancer Takao Kawaguchi (playing Sisyphus), and composer Christophe Charles.
2004: Tokyo Wonder Site: Artist’s Night: Kai curated a multimedia performance in collaboration with Dumb Type choreographer-dancer Takao Kawaguchi, and composer Christophe Charles.
2004: Tokyo Wonder Site: Artist’s Night: Kai curated a multimedia performance in collaboration with Dumb Type choreographer-dancer Takao Kawaguchi, and composer Christophe Charles.
2004: Kai also curated a programme with 2 sound artists at the Tokyo Wonder Site: Artist’s Night. Kotaro William Tokuhisa and Belgium Isabelle Mairiaux were fun and brilliant!
ISLANDHOPPING 2002-2005. This collage summarises my work in Japan. Kai made hundreds of works and held hundreds of exhibitions, performances and installations, many of which she self-curated.
2002-2005: During her time in Japan, Kai initiated and/or organised and/or participated in several ‘talk shows’, conferences and so on with her Japanese counterparts – in the attempt to relate/clash with/converse with them – and NOT be an island.
2005: I curated a programme of students works from LASALLE College of the Arts and wrote the programme notes for a show that was a part of the Sight Media Festival 2005, held at Sony Building’s Somido Hall in Tokyo, Japan.
2004: Kai’s talk show with pioneer video artist and Fluxus member Iimura Takashi, at her solo show at the ASK Gallery, Tokyo.
2005: Kai curated my own solo show at Gallery Surge, Tokyo, Japan. It included an installation and a collaborative performance with Tamaru and Adachi Tomomi.
2005: postcard for a solo show.
2005: Kai curated her solo show at Gallery Surge, Tokyo, Japan. It included an installation and a collaborative performance with Tamaru and Adachi Tomomi, 2 vastly-different sound artists.
2005: Kai curated my own solo show at Gallery Surge, Tokyo, Japan. It included an installation and a collaborative performance with Tamaru and Adachi Tomomi.
2005: Tamaru’s reflection of the event and my work on his blog.
2005: Kai’s solo show at Musashino Art University. It featured multiple screens, synched up via MAX-MSP.
2005: Kai’s solo show at Musashino Art University. It featured multiple screens, synched up via MAX-MSP.
2005: My solo show at Musashino Art University. This is a large projection of a map to show the timetable of the different videos and how they are related to the other videos on show!
2005: Every now and then, the video monitors are all synched-up to show a flood of big pink Japanese characters. Like an exuberant, absurd manga flood!
2005: Solo show: There will always be analogue objects in Kai’s shows, too. In the same show, there are maps, objects, books etc that archive ISLANDHOPPING.
2005: Solo show: There will always be analogue objects in Kai’s shows, too. In the same show, there are maps, objects, books etc that archive ISLANDHOPPING.
2005: Musashino Art University catalogue.
2002-2005: Through practice, and through taking part in symposiums and through writing, Kai explored the format of the ‘laptop performance’ and the notion of ‘ma’ during her time in Japan, often with Christophe Charles, seen here in a picture at her 2004 solo show at Gallery Surge.
2004: People watching the laptop performance Kai held with Christophe Charles and Carl Stone at her solo show at Gallery Surge.
2004: People watching the laptop performance she held with Christophe Charles and Carl Stone at her solo show at Gallery Surge.
2004: Screen capture of her solo show at Gallery Surge.
2004: Screen capture of her solo show at Gallery Surge.
2005: A write-up at Peeler magazine about her ISLANDHOPPING.
2005: An interview on Peeler magazine. This page features images of a solo show of ISLANDHOPPING 2005
2000: Large 2-page spread on Business Times on a joint show at the Alliance Francaise du Singapour, and on video art.
1999: Pardon My French! Kai’s self-curated solo exhibition at the Alliance Francaise du Singapour.
1999: Why What (Non-Apology). Heavily influenced by Beckett, Nauman.