Home, and Mrs Wong – Joseph LIM

While the nature of domesticity usually connotes warmth, familiarity, and comfort, this film posits it otherwise. Visiting the domestic life of an elderly woman, in her late ‘70s, and living alone at home, the film intends to visually bring to light the criticisms made of the domestic space and its effects on its user: Mrs Wong. It seeks to visually represent the unseen interactions between her and ‘her’ space, revealing the underlying dynamics of power, ownership and security that plague the domestic realm. As the title suggests, a narrative is built around the primacy of the house where a tension exists between the space, its objects, and its user. This is in combat with the personal interactions between Mrs Wong and her grandson that are overheard throughout the film. This tussle subsequently uncovers the endangerment that Mrs. Wong is situated in, in her own home, and identifies the domestic space as a place of precariousness.

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Scrambling Sands – LIN Derong

As an island state without hinterland and natural resources, Singapore stockpiles emergency inventories of imported sand in response to the rising and diminishing economic demands and international geopolitics. Enormous sand dunes and desert-like landscapes emerge strategically around Singapore to uphold national security and satisfy our thirst for sand. The film presents the state’s sand in a series of single channel video that juxtaposes these restricted stockpile sites against our familiar sand-pit playgrounds and beaches. These physical spaces become objects of study and the purpose is to document overlapping time lapse motions and the spatial atmosphere of the two contrasting sand landscapes. As the surreal stockpiles are set against the frolic and idiosyncratic nature of sand, they draw attention to the on-going spatial separation between sand as a subjective matter in the everyday domestic, and sand as an objective state’s narrative that is manifested into surreal sand dunes. In line with the larger research interest on the avocation of sand play and its tactile emotive nature, it is a ground-up reflection upon our relationship with sand in Singapore.

The film is a work in progress and is accompanied by a set of printed text and drawings that depict sand use in our everyday lives in an A to Z glossary structure.

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Tanglin Halt: Moving House – NG Chloe

Through the Selective En Bloc Redevelopment Scheme (SERS) that seeks to revitalise older estates through the demolition and subsequent reconstruction of higher-density blocks, the site of Tanglin Halt, one of the first neighbourhoods, becomes a place of contestation between the dominant state narrative and individualised notions of belonging and attachment. Political and economic concerns begin to override residents’ own notions of domesticity, challenging the familiar that makes the place ‘home’. Residents become strangers – the metaphorical ‘ghost’ – due to their feelings of uncertainty and impermanence. Physical items discarded during the displacement process become the only solid, grounding clues that hint at the ‘domestic’ left behind. This video thus attempts to capture the elusive ‘ghost’ through the lack thereof – that is, the ‘ghost’ of the resident can ultimately and ironically only be captured through the things he/she leaves behind in the process of moving. Shots of discarded objects are interwoven with snippets of conversations with a long-time resident of the area, revealing the affective aspects of the estate that make the place home; yet also exposing feelings of uncertainty and impermanence with regards to Tanglin Halt, home, and moving out.

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