Desire is Dead
Through a playful juxtaposition of artworks, the exhibition seeked to tease out the erotic presences, complexities, and potentialities in Singapore’s midst, where a plenitude of desire surrounds us every day and everywhere, shaping the way we view the world and ourselves.
The exhibition was configured such that it is as much a visual showcase as it is a spatial exercise enacted bodily through artworks that engages audiences sensorially or require audience interaction. Watch a short video HERE to hear about the curator Adele Tan’s take and inspiration behind this.
Between the Butt and the Chair #3 (One for each butt cheek), 2020
Between the Butt and the Chair #4 (Heatsink and Longevity), 2020
Between the Butt and the Chair #7 (Double Happiness Goes Both Ways), 2022
Kray Chen's practice largely deals with lived experience and body politics, reflecting on the body and the self within the economical machine, observing the fissures and ruptures of the psyche arising from the parallel quests to progress and to conserve. His chair and stools reframed as erogenous traditional furniture suggest the contortions of the body that can happen when one allows oneself libidinous encounters.
Artist:
Kray Chen
Between the Butt and the Chair #3 (One for each butt cheek)
Wood and Aluminium
46.5 x 60.5 x 44 cm
Between the Butt and the Chair #4 (Heatsink and Longevity)
Stainless Steel
115 x 92 x 84 cm
Between the Butt and the Chair #7 (Double Happiness Goes Both Ways)
Stainless Steel
40 x 40 x 45 cm
Kray Chen
Between the Butt and the Chair #3 (One for each butt cheek)
Wood and Aluminium
46.5 x 60.5 x 44 cm
Between the Butt and the Chair #4 (Heatsink and Longevity)
Stainless Steel
115 x 92 x 84 cm
Between the Butt and the Chair #7 (Double Happiness Goes Both Ways)
Stainless Steel
40 x 40 x 45 cm