Something Human, Artist interview
Curator's interview for live art Path. 8, Invisible Cities 。云海游 at the 57th Venice Biennale
A ‘sail carriage’ is oxymoronic—maritime without being on water...I made the ‘sail carriage’ to connect my embodied interiorities—memories, culture and politics of a Southeast Asian Chinese artist—to the multicultural context of the Diaspora Pavilion that is set within a broader international and Eurocentric contexts of the Venice Biennale.
Reuben Keehan, Black—Hut, Black—Hut,
Artlines, no. 4, 2018
Co-commissioned by QAGOMA and Singapore Art Museum for Asia Pacific Triennial 9 and Singapore Biennale 2019
The four central pillars hover above blocks of Indonesian petrified wood, paying homage to the way that the structure supports the ceiling of the joglo house.
…drawing helps me to envision a complementary relation (akin to the Chinese concept of ‘yin’ and ‘yang’) of figure and ground, in which the gap between the city and me is generative. Making marks on paper or placing a building on a site, they both suggest a figure/ground spatial relation that work together to produce an image, a thought, an idea.