Youth Code – An exhibition review
With new born eyes, the fourth Daegu Photo Biennale peers beyond its industrial cloisters of labour and machinery into re-imagined landscapes of youth and vitality. Photo credit: http:visitdaegu2011.blogspot.sg/
A seven-hour international flight, one inter-city train and an subway ride later, I arrived at Daegu at nightfall. It took almost an hour of navigating on foot until I found accommodation – a miniscule hostel located three floors above a massage parlour run by Chinese migrants. Whimsically named “Peterpan Guesthouse”, the modest three-room apartment looks out into one of the glitziest, most expensive hotels in downtown – Novotel. In a city where contrasts align so starkly side by side, “Neverland” was truly at my doorstep.
Come, walk with me. Observe, don’t just see. Look, always look again.
Using two cameras triggered in-synchronicity to capture one moment as a stereoscopic image, “Twilight Dreams of a Papilio Demoleus” delves into themes of personal identity, existence, and the twilight terrain they dwell in.
“Twilight Dreams of a Papilio Demoleus” beckons you like a child with a faint smile. Enchanted, you wander in her trail. Deserted train stations, open squares, back alleys, ribbons of asphalt clogged with traffic snaking through the city– places you thought you have seen enough, but in a blink of an eye, they seemed new again. But when did they transform? How? Why? Beautifully surreal, the work teases you with these questions as it unfolds in various nooks and crannies in New York City, where Singaporean artist John Clang is based in. Beyond its rich layers, lies what is possibly an intimate portrait of Clang’s innermost thoughts and emotions.