ZARINA Muhammad and Zachary CHAN

About The Artists

Zarina Muhammad (b. 1982) is an artist, educator and researcher whose practice is constitutes a critical re-examination of oral histories, ethnographic literature and other historiographic accounts about Southeast Asia. She has been working on a long-term interdisciplinary project on Southeast Asia’s provisional relationship to the otherworldly and the immaterial. Recent exhibitions include those at Singapore Art Museum (2018), MOCA, Taipei (2019) and T-Works (2019). Her lecture performances have been presented at Indonesia Contemporary Art Network, Yogyakarta (2018); Objectifs Centre for Photography and Film (2017); LASALLE‚ Institute of Contemporary Arts Singapore (2018, 2016) and The Substation (2016, 2020).

Zachary Chan (b. 1990) is a graphic designer by profession. He is the co-founder of design collective, crop.sg. He is also an occasional composer, sound designer and an amateur musician, participating in gamelan ensembles. As a musician, performances and collaborations include “Continuum” (2015-16) with the Observatory, “Pragmatic Prayers for the Kala at the Threshold” with Zarina Muhammad at the Singapore Art Museum, and “JOGJAKARFEST” (2020) with Singa Nglaras. As a composer, he was most recently involved with the first International Gamelan Festival (2018) held in Solo, and the Singapore Night Festival (2019).

ZARINA Muhammad and Zachary CHAN

"How are we listening to each other, to our surroundings, our environments, our bodies, our breath, our organs, to creaturely companions, to reconfigured rhythms of time and disembodied sounds from virtual realms? How are we unlearning and re-negotiating our relationship to time, to routines, to spatiality, presence and sentience in space?"

<earth, land, sky and sea as palimpsest>. Video

. Video

About The Artwork

<earth, land, sky and sea as palimpsest>

Single-channel colour video with sound

< earth, land, sky and sea as palimpsest > stems from a broader, collaborative research project that explores a number of thematic pathways, both tangible and intangible: environmental histories, infrastructures overlaid on spirit paths, extractive capitalist urbanization, archival fragments, moving, shapeshifting walking paths through human built landscapes alongside what lies below and above these trails and coordinates. The work, according to the artists, constitutes “invitations and invocations to see with skin, hear with our feet, feel our way through spatial interruptions and somatically attend to sound at points of transit, change and threshold-crossing. How are we listening to each other, to our surroundings, our environments, our bodies, our breath, our organs, to creaturely companions, to reconfigured rhythms of time and disembodied sounds from virtual realms? How are we unlearning and re-negotiating our relationship to time, to routines, to spatiality, presence and sentience in space? What invocatory technologies of the present are lending themselves to these new planetary questions and shapeshifting worlds we are building, sensing and mapping?” The long-term project encompasses counter-cartographies, and the mapping of mnemonic meanderings through the canny and the uncanny, the uninhabitable, the chthonic, and para-human worlds that we share habits and habitats with.

Julius Baer Next Generation Investment Theme

Energy Transition