Singapore Unseen

The Singapore Unseen Exhibition behind at the Pera Museum is being promoted in the eyes of Singapore’s local photographers.
The exhibition consists of photographs from PLATFORM, a Singapore based photojournalism and documentary photographer, created by Singapore’s 50th year of independence. The purpose of the project is to confront Singapore’s people with hope, fear, anxiety and confusion about Singapore.

The feelings of the local survivors, the observers of the past, the ones presenting instant moments from the present life, or the people who digest the urban life and the old habitats are transmitted through the photographs.

In the series of photos of John Clang’s Wanted Mountain, the Singapore Girls (Singapore Airlines employees) were photographed in traditional clothes in different locations in places that are not a Singapore specialty. The artist presents ordinary Singapore scenes with these girls in clothes that are not very compatible with the spaces in this series, but the photographs are made even more meaningful by the notes on each photograph.

Ore Huiying, a hundred-year-old farmer who is a member of the family, warms ourselves with the beauty of life in the crowded family with photos representing family and farm life memories in his farm work.

Sean Lee consists of two photographs of his parents photographing his first work, which is the first study of his mother and father in the study of the name photo of two people. In these studies, the artist outwardly expressed his feelings about the relationship between mother and father, not to leave them apart.

When SIM Chi Yin went to Meixian in 2011 to get information about his grandfather who had never spoken to his relatives by the way, from a photo belonging to his photographer, Dad, who was executed by the Chinese Nation Party in 1949, After his death, he had the chance to photograph the story of the life changing family and the Hakka Chinese.

  

Sam CHIN photo of the defun photo series photographs people in the organized industrial zone where 1000 fabs built in an area of 240 football fields of Defu City, one of the regions affected by the Singapore government’s 20-year urban transformation project, will be affected. Each of these people, working in different sectors, posed with a smile on their faces as if they were taking their photos for a period of time, perhaps a few years later, worrying about their willingness to order.

Vanissa Yunibandhu has created an integrated message with the merging of different poses on a single frame, superimposed over the images of the financial markets and marketing sector themes identified with Singapore in their named Market Forces work,

Zinkie AW, in his Singapore-based work, described this language as English, Chinese, Malay, Tamil and various Chinese dialects, which he described as Singaporean argusu, and tried to describe it through photographs.

Graciela MAGNONI’s Acayip Kaplıca has been giving away squares from Sembewang Kaplıcası, which has been free since 2002, discovered in 1908. It is clear that these people who have spread themselves out of their homes or left themselves in a hive have come to be cleansed both in body and mind.

Amrita CHANDRADAS describes how many areas of Singapore have been destroyed and renewed under the development plans, while the last remaining village of Singapore, which has not yet taken advantage of this change, goes to Bukkoko, to the cemeteries and far away, to immortalize these areas with photo frames. Another artist, Deanan NG, who is in a similar situation, presents photographs of the Bidadari Park near the house where many people living in the vicinity of the house, who will soon become a residential area due to urban transformation.
The Land Archive’s name work is described as an archive that will have an important place in Singapore’s transformation period. These photos taken by Robert ZHAO Renhui aim to capture the change of this tropical island state.

The exhibition area, which consists of photographs of many other artists, consists of two cats in total.

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