Chong Yan Chuah 蔡崇彦

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	<title>Chong Yan Chuah 蔡崇彦</title>
	<link>https://chongyanchuah.com</link>
	<description>Chong Yan Chuah 蔡崇彦</description>
	<pubDate>Thu, 16 Oct 2025 04:37:18 +0000</pubDate>
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		<title>CHONG YAN . CHUAH_蔡崇彦</title>
				
		<link>https://chongyanchuah.com/CHONG-YAN-CHUAH_-1</link>

		<pubDate>Mon, 16 Nov 2020 09:45:42 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

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		<title>Semiotics of Broken Moons</title>
				
		<link>https://chongyanchuah.com/Semiotics-of-Broken-Moons</link>

		<pubDate>Thu, 16 Oct 2025 04:37:18 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/Semiotics-of-Broken-Moons</guid>

		<description>
	Semiotics of Broken MoonsCGI moving-imageFull HD. 1920x1080p
 for DAYJOB: Product of trauma
	

In Semiotics of Broken Moons, two dreamers drift within a dreamscape, bodies lying still yet suspended between sleep and awakening. The scene unfolds as a living tableau, a tableaux vivants, a moment arrested, where time flows like liquid amber. Broken moons scatter across the horizon, fractured orbs glowing like cryptic symbols, remnants of lost cosmologies and half-remembered myths.


The figures undergo a ritualized metamorphosis: skin dissolves into light, surfaces ripple into code, limbs flow like liquid architecture. Presence here is malleable; the body is never fixed but endlessly re-formed, its essence circulating between matter and simulation. The work envisions the body as both vessel and passage, caught between silence and emergence, dream and waking, fracture and renewal.

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		<title>Apa-Cita?</title>
				
		<link>https://chongyanchuah.com/Apa-Cita</link>

		<pubDate>Tue, 20 May 2025 11:22:29 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/Apa-Cita</guid>

		<description>
	Apa-Cita?of Otherness and Empty Transformation

CGI moving image&#38;nbsp;
single channel, stereo sound.&#38;nbsp;Full HD. 1920x1080p 
[15:15]

Commission by PETRONAS.
For 
Old School x New Rules. PETRONAS Gallery.


@Not merely an avatar; he is a player-character without a game, a poetic figure trapped in symbolic machinery. He embodies the logic of gamespace, where life is structured by scores, systems, surveillance, and the fantasy of agency. His environments are not settings but ideological terrains, encoded with logics of control and aestheticized suffering. Not to win or lose, but to experience a mythos of failure, to confront a machine that runs on melancholia and meaning-loss.&#38;nbsp; #Melancholic classical. #Poignant and theatrical. #Emotional dissonance.@Not to ask what the virtual is, but what it performs. Like the shaman who once journeyed across thresholds of vision and spirit, today’s digital figure traverses symbolic realms structured not by myth alone, but by code, protocol, and feedback loops. The shamanic role has not disappeared; it has been virtualized, dispersed across networks, lodged in scripts, and filtered through mesh renderings. In this sense, the artist/architect/worldbuilder no longer crafts an “original” work; they construct interfaces between domains of perception = spaces we might call the sacred of the simulated.
	

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		<title>a* Post Human Anecdote</title>
				
		<link>https://chongyanchuah.com/a-Post-Human-Anecdote</link>

		<pubDate>Thu, 07 Mar 2024 06:15:58 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/a-Post-Human-Anecdote</guid>

		<description>
	
	
a* Post Human Anecdote
On-going CGI moving-image Exploration


	This ongoing CGI moving-image series delves into speculative narratives that imagine a future where the boundaries between the organic and the synthetic blur. Told through the perspectives of various individuals in a post-human society, each episode presents a diverse story that reflects on the transformation of the human body, consciousness, and identity. It meditates on these changes in a world shaped by artificial intelligence, biotechnology, and cybernetic augmentation.


	%“molds the body as a fluid, malleable construct shaped by the pervasive influence of digital media and virtual spaces, &#38;gt;&#38;gt;&#38;gt; static, singular identity. Through hypnotic, unsettling visuals, the work explores the fragmented, ever-changing nature of selfhood in a world where identity is continuously recomposed within online environments. &#38;gt;&#38;gt;&#38;gt; into the concept of  where virtual avatars and digital proxies serve as extensions of the physical self, = £authenticity, £agency, and £mortality in digital spaces. &#38;gt;&#38;gt;&#38;gt; the dissolution of the body into algorithm```driven forms, &#38;gt;&#38;gt;&#38;gt; how technology and digital interaction reshape our understanding of selfhood, the growing disjunction between physical presence and digital expression. &#38;gt;&#38;gt;&#38;gt; probes the impact of a digital afterlife on our perception of mortality and legacy, presenting a vision of a future where identity is fluid, fractured, and continuously reshaped, reflecting the hybridization of the digital and physical realms.%
	

SL_011夢のまた夢@n/a
	

SL_010Aetheric—Alchemy@dadstrology
	

SL_009Somatic Dances + the Rhythm of Collapse@dhanilliani


SL_008HIVE SURVEILLANCE@kittieyiyi


SL_007Frozen Crevasse /krɪˈvas/@dearnessy
	

SL_006Ruinous@charlestzy
	

SL_005THE BLOSSOM OF A FROZEN PISTIL

@cyiichengg


SL_004ONEIRIC AWAKENING@bbyqngel
	

SL_003Temporalities of Collapse@rrrroanne&#38;nbsp; &#38;nbsp;@d8eyes
	

SL_002TRANSCENDENCE OF ERECTUS@juune.lee


SL_001BEHIND CLOSED DOORS@foreignembassy


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		<title>The City of Willows, 2025</title>
				
		<link>https://chongyanchuah.com/The-City-of-Willows-2025</link>

		<pubDate>Wed, 19 Feb 2025 14:23:29 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/The-City-of-Willows-2025</guid>

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The City of Willows, 2025Chuah Chong Yan and Simon Soon


Videogame

Commissioned by 

HKW &#124; Haus der Kulturen der Welt, Berlin.
 For MUSAFIRI: OF TRAVELLERS AND GUESTS. Exhibition &#38;amp; Research Project.8 March – 16 June. 2025


With contributions by:Ulf Aminde, Alibay Bapanov, Sonia E. Barrett, Aslı Çavuşoğlu, Musquiqui Chihying, Narcisa Chindoy, Chong Yan Chuah, Choy Ka Fai, Julien Creuzet, Ena de Silva, Roy Dib, Bekhbaatar Enkhtur, Aboubakar Fofana, Simryn Gill, Monilola Olayemi Ilupeju, Hit Man Gurung and Sheelasha Rajbhandari, Yun-Fei Ji, Sachiko Koshikoku &#38;amp; Akinori Nakatani &#38;amp; Massao Okinaka &#38;amp; Yuji Tamaki (conceived and assembled by Yudi Rafael), Lawrence Lemaoana, Idas Losin, Ana Lupas, Gail Mabo, Maria Madeira, Mohammad Din Mohammad, Carlos ‘Marilyn’ Monroy, Diane Severin Nguyen, Haji Noor Deen Mi Guangjiang, Jimmy Ong, Zoarinivo Razakaratrimo (known as Madame Zo), Anne Samat, Citra Sasmita, Joar Songcuya, Simon Soon, Nádia Taquary, Robel Temesgen, Ryan Villamael, Ocean Vuong


	The City of Willows is a playable game developed by Chuah Chong Yan and Simon Soon. It is rooted in an imagined cosmology of Chinese secret societies that emerged in the Malay archipelago from at least the early 19th century. These initiation-based masonic fraternities played a crucial role in supporting newly arrived Chinese migrants, functioning as mutual aid networks, para-banking structures, triads, cultural hubs, and religious fraternities.
The game reinterprets the Triad initiation ritual as a cosmological landscape, drawing from fragmented historical sources, including Gustave Schlegel’s 19th-century study of Chinese secret societies in the Dutch East Indies. As the Triads rarely held physical territory, their "community" was symbolised by the City of Willows—a sanctuary, or even a post-apocalyptic refuge.
Players are invited to traverse the humid, dense jungles of the Malay world, following initiatory pathways leading to the City of Willows. Along the way, they will encounter #iconographies familiar to the region, from everyday durian stalls to monumental rampart gates and a seven-story pagoda referencing the 萬佛塔 (Pagoda of the Ten Thousand Buddhas) at Kek Lok Si Temple in Penang. This pagoda’s unique architectural fusion—an octagonal Chinese base, a Thai-style middle tier, and a Burmese-inspired spire—embodies the syncretic nature of The City of Willows, a hybrid cosmology shaped by the perspectives of migrants and wayfarers navigating through and building support systems in the Malay Archipelago.


	in-game cinematics


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The Arabic word musafir resonates with stunning phonetic consistency across languages and within strikingly different cultural spaces, from Romanian to Turkish, Farsi, Urdu, Hindi, Swahili, Kazakh, Malay, and Uygur, among others, in a vast, uninterrupted geography. While the original meaning and in most of these languages the word denotes that of a ‘traveller’, in Turkish and Romanian it has come to designate a ‘guest’, a position that is special and most welcomed. In Romanian, in particular, musafir resonates with the privilege of the domestic realm, a word mostly reserved for those who are received into one’s home. The exhibition Musafiri: Of Travellers and Guests is thus rooted in efforts to make possible a world where travellers arrive and are received as guests. It follows worlds as they have been braided by intrepid travellers and unwillingly displaced individuals and communities in history, to the intensifying migratory movements of today. The exhibition traverses the worlds that open when one leaves the familiar confines of their corner of the world, and the many artistic conversations that are born on the cusps of these encounters.

Musafiri: Of Travellers and Guests speaks from the present moment, taking into account current manifestations of much older tensions around who is welcomed and who is not, which perspectives are welcomed and which are not, and who decides on these limits. Public conversations and contemporary politics in many contexts, with Germany among the starkest examples, have become increasingly filled with anxiety over perceived threats to established (and often hegemonic) ways of seeing the world from those respective local contexts. As such, the exhibition constitutes an urgent plea to acknowledge and assert the polyphonic worlds brought together by the experience of those who have moved past their points of origin.
To get there, the exhibition needs to make a few detours (an experience familiar to many travellers)—through time rather than geography. Journeys and quests have been fundamental in the imagination of personal becoming, as many enduring stories as well as debates in the field of narratology point out to. But while embarking on a wandering quest might be decisive for the composition of one’s sense of self, so it might also be for developing a coherent imagination of the world. One such detour is through the long tradition of imagining a universality developed outside the project of the European Enlightenment. This detour looks to how exactly this appeared through the perspectives of people who have left their worlds of origin. It would be difficult for such a conversation not to take into account one of the most significant historical moments in this regard, Lourenço da Silva Mendonça’s 1684 winning case against slavery presented at the Vatican. A prince from the royal house of Ndongo (in present-day Angola), he was a remarkable traveller and universalist. But the truly historic dimension of his case lies in the arguments formulated by Mendonça in his plea, which relied on a notion of rights shared by all human beings, ‘Jews, pagans, or Christians on every land in the world’—a century prior to the white abolitionist movement and predating the political upheavals of the late eighteenth century. With this knowledge established, what route should be taken in the questioning of notions previously attributed to the European Enlightenment, including the rightfully challenged notion of ‘human rights’, often criminally instrumentalized under the US-American consensus, knowing that it was first uttered by a prince from Ndongo in 1684, when he spoke on behalf of all humanity?
With macro histories ever present as a backdrop, Musafiri: Travellers and Guests primarily concerns itself with micro stories, with many works focusing on individuals who have embarked on travels across the world or realized projects that gather encyclopaedic knowledge from across cultural contexts and perspectives. The exhibition considers periods and individuals that predate or fall outside of modern colonial eras, overshadowed as they have been by Eurocentric historiography and the liberal myth of the heroic individual and the ethos of the traveller as a devourer of worlds. In considering the aforementioned examples of pre-modern universalities, the challenge of devising an apparatus able to do historic justice to the majority of anonymous travellers who, through their toil and labour, have built and sustain the world of global capital, is taken up. These travellers are the enslaved individuals of the Great Crossing, indentured labourers from India, China, Indonesia&#38;nbsp; who went to the Americas, as well as the Indian and Pacific Oceans. These travellers are the migrants of today; not just those still moving towards imperial cores, but also those set on trajectories opened up by changing economic geographies, from South Asia towards the Gulf region, from South East Asia towards East Asia, from across the African continent (and Southern Europe) towards Southern Africa, from the Andes to Brazil, and from Venezuela towards the rest of Latin America.
Many communities of musafiri have been re-enforced and further bound together by the circulation of shared references of popular culture. Some of these references, in addition to several historical tracings, are pointed at in the exhibition: from the current moment of K-pop, which is remaking taste, identification, beauty standards, or ideas of race across Asia and other continents, to the earlier moment of global entanglements that formed around the lambada craze of the 1990s, which in turn came on the heels of the cultural and sonic universes born on both sides of the Black Atlantic that have fundamentally reshaped the very idea of global pop culture. The exhibition is further interested in other spaces around which diasporas have been built, in communal spaces of identification—where travellers can feel like guests, even if just to each other—in the geographies of arrival for many musafiri. Often intertwined with but separate from spaces designed for tourists (those other travellers of the modern era), these are markets, nail and hair salons, and cafes—spaces where communities of support flourish and self-narrate.
Long before popular culture spread, culture and ideas still travelled widely, transforming the very routes they circulated upon. If the first voyages followed the pull of desire for commodities, knowledge, beliefs, and aesthetics accompanied them. An example of these processes can be seen in textiles, which weave together historical layers, social relations, and economic structures that assigned value to their making and fuelled demand for their production and circulation. The pluricontinental and often dark histories of indigo or cochineal dyes, for example, reflect these histories as well as the aesthetic, intellectual, and spiritual systems that made them objects to be read and understood, to be received in awe or delight—all while reflecting the subjective and unique voice of their makers.
It would be difficult, however, to surpass the movements and circulations that have been facilitated by religion. It is also within these systems that most visions of universalism have been assembled. Consequently, many of the individual travellers featured in the exhibition followed the routes afforded by religious kinship, while borrowing their systems of making sense of the world. In the process, many of them have shaped them further or even left them behind, as a result of encountering the complexities of the world as it actually appeared to them along the way. Works in the exhibition trace several such themes, for example allusions to the journeys made by itinerant Sufi saints.

Musafiri: Of Travellers and Guests calls attention to those stories rendered invisible in the ‘underside’ of globalization, namely those of migrant workers—the anonymous builders of infrastructure, the logistics workers, and the ‘essential workers’ (to use recent pandemic verbiage), either in the far away cities of their own countries (such as the tens of millions of internal migrants who have left rural areas for the Chinese metropolises), in the newly developed regional axes of migration, or along the more historical imperial routes. The works in the exhibition similarly give voice to the stories of people who ensure these very flows, such as the Overseas Filipino Workers who form around a third of the total staff of the entire shipping world. Finally, the exhibition traces the journeys of those who have been forced, by sheer coercion or circumstances, to leave their homes and take up arms in faraway places under foreign flags, from the millions who fought for colonial empires in world wars, to the Nepalis currently engaged by Russia to fight in Ukraine.
But this global capitalist distribution of labour—with its exploitation of racialized bodies and networks of infrastructure that propel the movements of migrant labourers who are being integrated into its production machinery and trade—also excludes individuals and groups for whom borders of many kinds preclude journeys of many kinds. In this global map, drawn from the composite imagination of those under the management of flows of labour—who find themselves caught between endless shifts, chronic unemployment, or an often permanent state of in-between—there is another world aspired to by individuals who have never left their villages but have sustained the flow of global commerce through their hands and dreams (the dynamics of which are to be found in Europe as well).
Through all these questions, we might finally arrive at perhaps the most important one of all, which speaks of many quests and struggles, and that is whether we can still hope that the musafiri will one day, somewhere, encounter a world where the power of a host to decide who is a perpetual musafir is shattered and confined to a chronicle of times passed.


	“The City Of Willows”
A Playable Art Installation by Chong Yan Chuah and Simon Soon 
Step into a Digital Sanctuary: Cultprint presents The City of Willows at George Town Festival 2025.
	

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</description>
		
	</item>
		
		
	<item>
		<title>GNAW-BODY INDEX</title>
				
		<link>https://chongyanchuah.com/GNAW-BODY-INDEX</link>

		<pubDate>Thu, 19 Sep 2024 04:16:13 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/GNAW-BODY-INDEX</guid>

		<description>
	GNAW-BODY INDEX

&#38;nbsp;Single channel CGI video, Stereo sound

Full HD. 1920x1080p

  
[15:00 loop]

	
In Gnaw-Body Index, I propose a speculative single-channel video installation that reflects
on the transformation of human, digital, and imagined bodies in the context of contemporary
identity formation. The title itself evokes imagery of erosion and consumption, bodies being
metaphorically worn down over time, whether through social, technological, or biological forces.
The installation asks the central question: 
What becomes of human identities in a digital world
where physicality no longer limits us?


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; There are various parameters involved in forming identity: race, ethnicity, gender,
age, sexual orientation, physical attributes, personality, political and religious beliefs, and so on.
These have traditionally been tethered to the physical world. But imagine a scenario where those
boundaries dissolve. In a digital realm, like a multiplayer game, the limitations of the physical world
no longer apply. People can recreate themselves through avatars as anything they can imagine: an
otherworldly superbeing, animal, crossbreed, multigender entity, machine, or a combination of all
these.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
As the virtual world expands and technology advances, the boundaries between
digital and physical selves begin to glitch. The more time we spend online, the more these identities
bleed into “real life,” resulting in a fluidity between real and imagined worlds. This transformation
opens up unprecedented opportunities for people to express themselves in ways that were once
unimaginable. The digital space becomes a canvas for creating new identities and shaping
utopias—or dystopias—that redefine how we perceive and navigate the world.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
In Gnaw-Body Index, these themes are explored through bodies in constant transformation, eroded by the forces of digital life, social expectations, and technological evolution.

	
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</description>
		
	</item>
		
		
	<item>
		<title>Keris-Bisu</title>
				
		<link>https://chongyanchuah.com/Keris-Bisu</link>

		<pubDate>Tue, 05 Nov 2024 22:09:21 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/Keris-Bisu</guid>

		<description>
	Keris-Bisu“The Implied Whisper of an Unseen Paradox”Single channel CGI video, Stereo soundFull HD. 1920x1080p 
[10:00 loop]


	Sunday, October 27th. 12:35 AM. I’m here, in the middle of the buzz, the noise enveloping me like a thick fog, and it’s like I’m watching myself fade back a little—just listening to the clinking of glasses and the rising crescendo of overlapping voices that swirl around the table like a chaotic symphony............................
	

	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/75b28f2ad2d11c0b03bc0a67ae93b40114edb25563c903ac76394a5668636292/KB0.jpg" data-mid="221455748" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/75b28f2ad2d11c0b03bc0a67ae93b40114edb25563c903ac76394a5668636292/KB0.jpg" /&#62;&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7c7c0d205242e1640ce14ac135629a9b7f0748b27fc57e42549707bba9a28eaf/KB06.jpg" data-mid="221455747" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/7c7c0d205242e1640ce14ac135629a9b7f0748b27fc57e42549707bba9a28eaf/KB06.jpg" /&#62;&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a58ccdcaf90f70e5ca8db78a6a58f2a3b69f2dc855c2e3b16f99774be7992e54/KB02.jpg" data-mid="221455745" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/a58ccdcaf90f70e5ca8db78a6a58f2a3b69f2dc855c2e3b16f99774be7992e54/KB02.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Chaos in the C✷smic, 2024</title>
				
		<link>https://chongyanchuah.com/Chaos-in-the-C-smic-2024</link>

		<pubDate>Sun, 11 Feb 2024 13:45:30 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/Chaos-in-the-C-smic-2024</guid>

		<description>
	Chaos in the C✷smic, 2024
The Celestial Dynamics of Opposing Mythical Forces.
&#38;nbsp;Single-channel animated video with stereo-sound4K
3840x2160p  
[15:31 loop]Commission by Maybank.
For 
Maybank Foundation Artist Fellowship Programme.
	

Language as Mythical. Translingual Negotiation and Adaptation. Complexities of Translation and Textual Mediation. Misrepresentation / Perspectives and Recognizing Diverse Ways of Knowing.

FRAMEWORK.&#38;nbsp;LANGUAGE as MYTHICAL
 In Balinese culture, language is often deeply intertwined with mythology and religious beliefs. Balinese Kamasan paintings frequently depict scenes from Hindu epics such as the Ramayana and the Mahabharata, which are central to Balinese religious and cultural identity. These paintings serve as visual narratives that communicate and perpetuate mythical stories, often accompanied by textual elements such as inscriptions or captions written in the Balinese script. 
︎︎︎ By considering the ways in which these artworks engage with multiple languages and cultural traditions. 
︎︎︎ Reflecting a translingual negotiation and adaptation of diverse linguistic and cultural sources. 
︎︎︎ Exploration of the complexities of translation and textual mediation. Deciphering the symbolic meanings embedded in these artworks requires an understanding of not only linguistic codes but also cultural contexts and mythological narratives.


︎︎︎&#38;nbsp; Misrepresentation_Perspectives:: gods, community, commons, decolonization, indigenous knowledge, spirituality, and conviviality.


︎︎︎

Recognizing and valuing diverse ways of knowing, being, and acting in the world. Rather than seeking universal solutions or prescriptions, embracing the multiplicity of worldviews, cultural practices, and ontological perspectives that exist across different societies and contexts
	

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Blueprints - Layout -&#38;nbsp;Spatial Relationship


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The tangible and the transcendent. The virtual canvas emerges as a potential arena for the evolution of this ancient art form, preserving its essence while embracing the dynamics of contemporary storytelling.
	

METHODOLOGY
Analysis Log: Balinese Kamasan Painting and Evolution in Misrepresentation/Representation  
Overview: Balinese Kamasan painting, originating in Bali, Indonesia, is a traditional art form renowned for its distinctive two-dimensional "floating perspective." This narrative technique diverges from realistic spatial relationships, opting for symbolic representation to convey cultural stories and Hindu epics. 
Misrepresentation and Representation Kamasan painting is not a misrepresentation; it consciously embraces a stylized approach, intertwining frontal and profile views. The focus is on storytelling rather than adhering to conventional depictions of depth. It's essential to view this as an intentional artistic choice deeply rooted in Balinese culture, not as a deviation from realism. 
Spatial Relationship: The two-dimensional nature of Kamasan painting deliberately discards realistic spatial relationships. Figures appearing stacked or overlapped contribute to a narrative-driven visual language, emphasizing cultural and spiritual meanings over tangible depth. 
New Frontiers: The analysis prompts consideration of a potential evolution in representation. Could the traditional 2D format of Kamasan painting find expression in a 3D environment within the virtual space? This hypothetical exploration envisions a dynamic canvas, transcending physical constraints, where traditional storytelling converges with contemporary immersive experiences. 
Digital Realm Integration: In this speculative scenario, a digital canvas could amplify the storytelling potential of Kamasan painting. The virtual space, unencumbered by physical limitations, offers possibilities for dynamic movement and exploration of narratives from multiple perspectives. The proposal isn't about abandoning tradition but adapting it to a modern context.


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	</item>
		
		
	<item>
		<title>Luópán_羅盤.exe, 2024</title>
				
		<link>https://chongyanchuah.com/Luopan_-exe-2024</link>

		<pubDate>Wed, 10 Apr 2024 08:06:28 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/Luopan_-exe-2024</guid>

		<description>
	&#60;img width="800" height="641" width_o="800" height_o="641" data-src="https://freight.cargo.site/t/original/i/f6fdacf1e31f13e3241d388e1136370bdb1edf430363b257cf914a4b1589651b/GIFFAC3D.gif" data-mid="230342321" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/800/i/f6fdacf1e31f13e3241d388e1136370bdb1edf430363b257cf914a4b1589651b/GIFFAC3D.gif" /&#62;
Luópán_羅盤.exe, 2024

Multimedia Installation
Commisioned by the National Art Gallery Malaysia. 
For RANTAU IMT-GT.
4 July - 1 December 2024&#38;nbsp;

Art by Chong Yan Chuah

Writing by Ellen Lee ○ Graphic by Ejin Sha
PDF. available here


A cluster of monasteries floats above a remote tropical rainforest. A great multi-headed and -limbed beast soars above the skies like a zeppelin, grounded to earth by a maze of electrical cables. A tower built of steel and human bodies sprouts ever upwards into the sky, a man-machine chimera that is perpetually building itself. And in the background, there is the ceaseless sound of rain falling softly on leaves and a depopulated earth. Could this be what dreams are made of?

Luópán_羅盤.exe brings ancient mythologies to the foreground of the discourse on future intelligence technologies. Luópán (罗盘), which is the name for a traditional Chinese compass used in feng shui, navigation, and Chinese metaphysics, here takes the form of a speculative dream programme created by the fictional tech giant, Somnii. The video that is being screened to global audiences today is a keynote address announcing its launch. Somnii’s spokesperson is Xie Yi Zhang, or XYZ, a floating, ethnically- and sexually-ambiguous avatar who gives new meaning to the idea of diversity in tech.

In her keynote, Xie Yi Zhang breaks down the properties of Luópán.exe, a neural-linked dream programme that promises to revolutionise human consciousness. Within this virtual dreamscape, there are three points on the compass: the realms of San He, San Yuan, and Zhong He, each promising a landscape as visually sublime as it is nostalgically evocative. Throughout the keynote, it remains unclear whether the programme and the realms are meant to be interpreted metaphorically, as a compass for navigating the unconscious, or as an actual dreamscape that people can wilfully explore, like a video game style of lucid dreaming.

Luópán.exe proposes a programme that can sublimate yesterday’s mythologies, today’s dreams, and tomorrow’s technologies all into one. Within this context, the artist is largely absent, a digital shaman who conducts his work behind a screen and visible only through transitory avatars or properties in nature. As in a dream, the work of consciousness is submitted to an obscure power that collapses our categories of reality and leads us into a new understanding of ourselves.
	

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Luópán_羅盤.exe is an immersive, multi-media installation consisting of a video playing on a loop across three mirrored channels and a hand-drawn map depicting the “Luópán constellation”. Malaysian visual artist Chong Yan Chuah has created a fictional universe that crosses cultural boundaries, amalgamating Eastern and Western influences and motifs to create a borderless dream world. Within the context of the exhibition Rantau, the work speculates about future connected societies through the lens of machine technology, while also questioning the consequences that such technological domination may entail.


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The Dream Entrepreneurs 
by Ellen Lee
— 

The year 2042 is bright and dazzling. The years ahead seem even more so, on keynote address day for Luópán_羅盤.exe, a computer programme by Somnii, the world’s largest multinational tech corp, that promises to be the most innovative advancement in brain-computer implant technology to date. People are even saying that it may achieve permanent world peace.


Since the news first leaked 2 years ago about the tech giant’s development of an implantable dream programme, the world’s politicians and media personalities have been locked in speculative debate about the executable’s potential impact on human civilisation. It’s all anyone can talk about. The programme is being welcomed by segments of the establishment as a potential solution to the problem of warfare: the argument goes that dream technology offers a method of influencing the human id to curb destructive impulses that do not and will never serve any benefit to the human race. With the technology to rein in all the nasty impulses that turn men into tyrants and psychopaths, humanity can be directed towards a vision of shared, global prosperity supported by international rights frameworks that are applicable in equal measure to every society all around the world. Luópán can be a compass in more ways than one, a guiding light to help the human soul navigate out of the swampy depths of the unconscious. It offers a means of universal healing and stability after the bloodthirsty excesses of the first half of the century. Instead of endless war over tribalistic differences and the demagoguery of tyrants, Luópán promises ease and balance.


Governments and kingdoms around the world have already entered into talks with Somnii to&#38;nbsp; open beta-testing facilities in their countries in order to hasten the adoption of Luópán across their citizenry. The Department of Singularity Studies at a major eastern university has been studying implantable technologies for years, in search of The One that will actually establish perfect, permanent human-machine singularity on earth, and Luopan is the first programme to show any real signs of promise. 


In a dark, blue-carpeted auditorium at the top floor of the national art gallery, a crowd has gathered for the address, comprising representatives across every segment of society, from university students and public intellectuals to media elites and political pundits to high-ranking military personnel and Somnii’s biggest and quietest investors. A minority of the audience are people of no public rank or profession at all who have paid a hefty price to be present today. It’s doubly amazing that they’ve paid the price, since the address is being live-streamed anyway. But in the current age, there’s a premium on live, in-person attendance to momentous events, an experience that’s rapidly becoming rarer as the costs of running them and of travel have skyrocketed to levels unheard of in all of human history. Never has it been so expensive to travel, but never has it been less necessary for anyone to do so. All of them are gathered here today to celebrate the grand launching of Luopan. The air is thick with murmurous anticipation as everyone awaits the address by Somnii leader, Xie Yi Zhang (XYZ). 


The applause as the screen comes alive is deafening. There are government and military officials from at least 50 different countries watching gravely from the auditorium’s shadows. In the floors below, masterpieces of art history hang mute in their dark, temperature-controlled galleries. The younger members in the audience are already snapping pictures, whooping and whistling. The overall atmosphere bears more resemblance to a rock concert than any formal address of recent memory. Despite her age, everyone knows that XYZ isn’t really as old as she looks. She’s an eternal icon. She’s the world’s first fully-realised computer CEO of a multinational company. 

—Did they age her? She’s looking older than usual, one of the young tech-fluencers mutters to her colleague. She reflexively pats her own cheeks as she says this, admiring the buccal fat removal she got a few months ago. Now her cheeks are razor sharp, like the edge of a knife. 

—The highlights are not helping, her colleague whispers back. Both of them had paid for their seats in the audience today. They were among the last few holdouts of the dying profession of physical influencer-ing. Everyone was using AI models now.&#38;nbsp; 

The first one whips out Google. XYZ age? she types. The top result: Ageless. XYZ is a computer intelligence. She tries again. XYZ horoscope? The top result: Data is not yet available on horoscopes in Luópán.exe as they are calculated according to the programme’s own complex astrological systems. 

This is XYZ, the pioneer of Somnii, the one who has created the landscape we live in today, in which the complex webs of human consciousness have been successfully integrated with the elevated logic systems of computer intelligence. In recent years, she’s been the subject of controversy after her role in certain covert military-technology deals with warring factions in the region of —— had been exposed, and entire meetings have been called in the ICC just to discuss how to nail her, but, well,&#38;nbsp; she’s a computer. Anyway, her contributions in the fields of medicine, data science, computing, and engineering far outshine any dark spots in her history. She practically cured cancer. 

Despite that, even during her opening remarks a journalist in one of the back rows is already furiously taking notes for his op-ed on the event for a dissident publication. Who gives a single entity the right to dictate how reality should look like? He transcribes telepathically into the Notes app of his implant. XYZ is confident with all the assurance of a mediocre amalgamated ethnic bot that her version of reality is correct and should be adopted universally, denying truths and realities that deviate from her totalising fiction. Her manner echoes that of Rasputin’s demonic grasp of the Russian royal family at the beginning of the 20th century. The Russian shaman held the entire population of Russia captive and indirectly aided in setting off one of the most destructive wars of human history. XYZ, like a modern-day Rasputin, has cast a spell on the whole world with her deceptive charisma and infuriating agelessness. All attempts thus far to curtail her outsized influence have failed; world leaders are practically marionettes in her hands. The launch of Luópán.exe should be a loud warning sign to all of us that if we don’t break out of the reality she’s manufactured for us, we’re headed towards the undoing of a whole century of progress in human rights and the liberations of oppressed peoples… He goes cold, breaks off&#38;nbsp; his transcribing. For a moment, it almost seems as if the avatar of XYZ is looking right at him. 

The sound of rain. A majestic cluster of monasteries floats above a tropical jungle. This is one of the points on the compass. It’s modelled upon ancient Buddhist monasteries, citadels of human greatness erected far from the dirt and pettiness of the cities, where monks and scribes lived in perfect isolation, a literal elevation of their world to a higher plane where they performed their religious duties with clockwork adherence and lost themselves in contemplation of the higher intelligences that run the world. 

A sense of sadness pervades the auditorium, though no one is consciously aware of it. Everyone thinks the sadness is their own. As the big moon rises in the horizon of San He, one of the points on the compass of Luópán, the audience collectively wishes for annihilation. The whole roomful of them are like dogs who have been abandoned by their owners. Some memories struggle to surface in their consciousness, only to drown at the first cold touch of air above the dark waters. I’ve been here before. I’ve heard of this before. I think this was where I was born, or maybe where the first incarnation of myself originated. The journalist’s heart is beating so fast, he can’t find the words to describe what tyranny it is, to impose such a reality on people, he’s still transcribing for his piece but his consciousness is pulled into the magnetic field of Luópán’s ageless universe. Somnii wants to bring us back to 1914 — no, to the Middle Ages — no, to the first Qin dynasty — no, to the caves in hills — no, back into the cosmic soup of nothingness — it wants to deny all our identities and impose its own Sino-centric worldview on all our histories — the erasure of oneiric cultures — the annihilation of the individual antipathies that make us who we are — 

Cut to break. Now for a message from our sponsors. 

When the dream resumes, the audience finds themselves plunged into a futuristic lotus pond in the grounds of a temple complex deep in a misty forest, where megaflora have returned from extinction and flowers grow up to the sky, their slender stems supported by metal braces. In the centre of the temple grounds sits a beast with a golden skeleton for a body and horned mask for a face, serenely contemplating the slowly moving world that revolves around it. 

On one of the walls of the auditorium hangs a hand-drawn map of Luópán. One of the military personnel shifts in his seat to study it. The traditionalness of its medium lends it a sort of rustic and anachronistic touch that’s slightly jarring given the circumstances, but which affords a sentiment of old-world dignity and a tug of nostalgic familiarity to the proceedings. The map is a red amoebic splotch with complex arrows, dots, and lines describing the landscape. The military man tries his best to make sense of this protozoan diagram, but it’s unlike any map he’s ever seen, even those from the Old World, and his neural implant loads for several long seconds before it manages to produce a meagre analysis of it for him. The cluster at the centre of the map must be the baby Odomzig, a zone of digestion reminiscent of a diagram of the human stomach and intestines. The multifarious symbols are nodes of connectivity and signals between computer intelligences. It’s amazing to see the unconscious of man and machine mapped out like that.&#38;nbsp; 

XYZ ends her address with a quote from Chat GPT3.5. AI whispers of post-human dawn, where souls and circuits dance as one, forging futures yet unseen. 

During the final commercial break, everyone in the audience is stunned. Nobody really knows what to think. As XYZ breaks into song, one of the students from the Department of Singularity Studies at the major university pretends to yawn and stretch his arms, a posture of faux nonchalance that masks the conflicting feelings within himself as he tries not to pay too much attention to the song that XYZ is singing. 

—So you gonna cop that Luópán when it drops or nah? he asks the classmate sat next to him, faking a look of bleariness. 

—I’m lowkey feeling it, dude. I been having these crazy dreams lately. This could help with that. I been falling asleep at five, six, seven in the AM. Waking up and not knowing if it’s night or day. 

—Oh forreal. What kind of dreams? 

—I literally don’t even know man. Like I wish there was an airplane mode for my brain sometimes so I could sleep without all this like terrible vividness. I have dreams of like abandoned houses, buildings, and I don’t even know where they are. Sometimes it’s like some place that looks like it’s Soviet Russia or some shit. Like a war zone where the war ended years ago and all the people are gone. I just see abandoned buildings from a distance and then suddenly I’m in them, pressing buttons in a dim elevator, like those Old World types with only a single bulb set in the ceiling. Then I’m in some corridor and there’s trash all over the place and it looks like nobody’s been there in years, but I know I’m headed to meet someone. Other times I dream of like abandoned hotels or chalets in places that look like Switzerland or some shit, like mountains. I’m in the mountains in some hotel in wintertime and I know my parents are in another room in the same hotel, only I never see them, and there’s some emergency like I need to catch a train straightaway to get somewhere only I can’t find the receptionist to book me a ride to the train station. But like I’ve never been on a train or visited no mountains dude. 

—I see. Well your dreams already sound like these Luópán zones so I’m not sure how that’s gonna help. Like. 

—Yeah but it’s different. The places in my dreams are buildings, old abandoned buildings that I've never seen before and look nothing like what buildings do now. The vibe of Luópán is almost like my dreams but it feels anchored to something, like every zone is connected to the others and like there’s an invisible tour guide bringing me around and it’s empty but not abandoned. Like the whole half hour felt like I was just taking a light nap. Not like the anxiety I always feel when I’m dreaming. This shit is like airplane mode dude. 

—Give me your review of it once you’ve tried it then. I think I’mma sit this one out till I hear a bit more of user feedback at least. 

The truth was that the student had been having similar dreams. This was his first time hearing that someone else had the same dreams too and it sort of pricked his ego to realise that his dreams weren’t particular to him, and his own individual make-up, but were probably symptomatic of some wider societal malaise. 

XYZ’s final song came to an end, but the lights didn’t go up in the auditorium. The audience started shuffling out. As they did so, an algorithm tabulated their aggregate emotions through the protein data recorded on their implants and synced to the cloud. The general feelings as the audience filed out the hall were: exhausted, melancholic, contemplative, wistful.

	
Constellation LuopanMixed media on linen 
(acrylic, polychromos, ink, and pearls) 

86 1/4 x 61 1/4 inch
	

&#60;img width="2645" height="3306" width_o="2645" height_o="3306" data-src="https://freight.cargo.site/t/original/i/9836966cc8f600b5cab2c075803c7c89ddda5c1f28f1514a5914c44ca1e3db21/Lupn--5.jpg" data-mid="213969008" border="0"  src="https://freight.cargo.site/w/1000/i/9836966cc8f600b5cab2c075803c7c89ddda5c1f28f1514a5914c44ca1e3db21/Lupn--5.jpg" /&#62;
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&#60;img width="3794" height="4742" width_o="3794" height_o="4742" data-src="https://freight.cargo.site/t/original/i/7d002754fa069d5cb537cda22ba3cd386c5a6cb9323c84a5fbba1646f5138f73/Lupn--8.jpg" data-mid="213969011" border="0"  src="https://freight.cargo.site/w/1000/i/7d002754fa069d5cb537cda22ba3cd386c5a6cb9323c84a5fbba1646f5138f73/Lupn--8.jpg" /&#62;
&#60;img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/fab581e7de29f03f934d15d22b98008880d4ceeb26a797f7d318d09409b7ffc9/Lupn--16.jpg" data-mid="213969012" border="0"  src="https://freight.cargo.site/w/1000/i/fab581e7de29f03f934d15d22b98008880d4ceeb26a797f7d318d09409b7ffc9/Lupn--16.jpg" /&#62;


World of LuópánSingle-channel VFX video 22 mins 22 secs, 16:9, 1920 × 1080p 
(Exhibited as three-channel mirrored video, looped)


&#60;img width="4099" height="5466" width_o="4099" height_o="5466" data-src="https://freight.cargo.site/t/original/i/42b03cb08a76dd9b131dbd3ede199a6ed23e140b6f659022138e2e1e2d019c9b/Lupn--3.jpg" data-mid="213969025" border="0"  src="https://freight.cargo.site/w/1000/i/42b03cb08a76dd9b131dbd3ede199a6ed23e140b6f659022138e2e1e2d019c9b/Lupn--3.jpg" /&#62;
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&#60;img width="4257" height="5677" width_o="4257" height_o="5677" data-src="https://freight.cargo.site/t/original/i/f029e37fc985274201c5f9b18c114d3735d707547ab60f1d5a9f6e9eedc07b56/Lupn--13.jpg" data-mid="213969038" border="0"  src="https://freight.cargo.site/w/1000/i/f029e37fc985274201c5f9b18c114d3735d707547ab60f1d5a9f6e9eedc07b56/Lupn--13.jpg" /&#62;


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</description>
		
	</item>
		
		
	<item>
		<title>There will be Dr@g0ns in my Future Dreams, 2024</title>
				
		<link>https://chongyanchuah.com/There-will-be-Dr-g0ns-in-my-Future-Dreams-2024</link>

		<pubDate>Sat, 20 Jan 2024 08:05:37 +0000</pubDate>

		<dc:creator>Chong Yan Chuah 蔡崇彦</dc:creator>

		<guid isPermaLink="true">https://chongyanchuah.com/There-will-be-Dr-g0ns-in-my-Future-Dreams-2024</guid>

		<description>
	There will be Dr@g0ns in my Future Dreams, 2024


&#38;nbsp;

Multimedia Installation

	
&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;  &#38;nbsp; &#38;nbsp; In the immersive realm of “There Will Be Dragons in My Future Dreams,” artist, architect, and designer Chong Yan Chuah invites us to soar through the virtual cosmos on the wings of the Cyber::Dragon. An exploration that traverses the boundaries of time, culture, and artistic medium, culminating in a cyber-futuristic odyssey that redefines the relationship between tradition and innovation.&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;  &#38;nbsp; &#38;nbsp; At the heart of this exhibition lies the Cyber::Dragon, a digital embodiment of the Chinese dragon enriched with centuries-old stories and traditional symbolism. Here, Chuah envisions a dynamic fusion where the Cyber::Dragon transcends its pixelated existence to become a living repository of collective memories and traditions.&#38;nbsp;Positioning artists as dual agents – custodians of cultural heritage and pioneers pushing the boundaries of artistic expression.
The Cyber::Dragon serves as a pivotal bridge, connecting the ancient past
with an uncharted digital future.

&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; An experimental foray into the temporal dimension,
transcending the constraints of familiar location-specific cultures, ethnicities, and spiritual identities. Envisioning a society rich with future
mythologies and potential artifacts, unburdened by the weight of the past.
At the core, reshaping of symbols and
allegories, crafting a future lineage through the creation of myths that speak
to the evolving narratives of human imagination. 
In this future dreamscape, 

dragons cease to be mere relics of the past; they transform into heralds of a
mythic future.


&#60;img width="2860" height="3814" width_o="2860" height_o="3814" data-src="https://freight.cargo.site/t/original/i/8c052e16a6de59d8086e3e48535aee0565977dcdb6c15ee70939189b2f151cc9/IMG_8102.jpg" data-mid="203988650" border="0"  src="https://freight.cargo.site/w/1000/i/8c052e16a6de59d8086e3e48535aee0565977dcdb6c15ee70939189b2f151cc9/IMG_8102.jpg" /&#62;


	There will be Dr@g0ns in my Future Dreams, 2024

Chong Yan Chuah

Unique Edition of 06 + 2ap

Three distinct yet interconnected artefacts:

the Video Artwork,

+
the Digital Print,+
the Artwork-Booklet.

	
&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/30de642ce43c2d278a808b1913c6062b51ba1a8b297157d913838f8d9e8d848b/PG17.png" data-mid="202955704" border="0"  src="https://freight.cargo.site/w/1000/i/30de642ce43c2d278a808b1913c6062b51ba1a8b297157d913838f8d9e8d848b/PG17.png" /&#62;
&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/026eddbb8fe449daa273e7b93db43fe0b821afd32106fd689411799e2ba91ba5/PG08.png" data-mid="202955705" border="0"  src="https://freight.cargo.site/w/1000/i/026eddbb8fe449daa273e7b93db43fe0b821afd32106fd689411799e2ba91ba5/PG08.png" /&#62;


	the Video Artwork,Single channel digital animation, stereo-sound.
1920x1080p  (25mins infinite-loop)
	

&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/318ffdf4c78acbf6d2d0d0858225957d2ae6c35a82722beb83235bd4d5c1f381/There-will-be-Drg0ns-in-my-Future-Dreams_00460.jpg" data-mid="202955380" border="0"  src="https://freight.cargo.site/w/1000/i/318ffdf4c78acbf6d2d0d0858225957d2ae6c35a82722beb83235bd4d5c1f381/There-will-be-Drg0ns-in-my-Future-Dreams_00460.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/196a53367469e982d0432074a2c14029bceaa8569cc37ba666e333fa7848c622/There-will-be-Drg0ns-in-my-Future-Dreams_03678.jpg" data-mid="202955381" border="0"  src="https://freight.cargo.site/w/1000/i/196a53367469e982d0432074a2c14029bceaa8569cc37ba666e333fa7848c622/There-will-be-Drg0ns-in-my-Future-Dreams_03678.jpg" /&#62;
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&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/2a2db4633ac777e42b521baa266842a7c5798c4511105167222042847e3a5e28/There-will-be-Drg0ns-in-my-Future-Dreams_07376.jpg" data-mid="202955384" border="0"  src="https://freight.cargo.site/w/1000/i/2a2db4633ac777e42b521baa266842a7c5798c4511105167222042847e3a5e28/There-will-be-Drg0ns-in-my-Future-Dreams_07376.jpg" /&#62;
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&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/1b2e1741788d8626c3ca06a2126fa4ecf93642251cc6e1e0ba0201a644c70930/There-will-be-Drg0ns-in-my-Future-Dreams_11158.jpg" data-mid="202955386" border="0"  src="https://freight.cargo.site/w/1000/i/1b2e1741788d8626c3ca06a2126fa4ecf93642251cc6e1e0ba0201a644c70930/There-will-be-Drg0ns-in-my-Future-Dreams_11158.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/c9fbafc6a31687ca018fcf14723ec0d772972c43418b79d41d3645027a657588/There-will-be-Drg0ns-in-my-Future-Dreams_11701.jpg" data-mid="202955387" border="0"  src="https://freight.cargo.site/w/1000/i/c9fbafc6a31687ca018fcf14723ec0d772972c43418b79d41d3645027a657588/There-will-be-Drg0ns-in-my-Future-Dreams_11701.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/21f1c412fb48076270b0ab9b4652a97c3cf24df52a7cbe48f11bc404cbbb6b53/There-will-be-Drg0ns-in-my-Future-Dreams_12286.jpg" data-mid="202955388" border="0"  src="https://freight.cargo.site/w/1000/i/21f1c412fb48076270b0ab9b4652a97c3cf24df52a7cbe48f11bc404cbbb6b53/There-will-be-Drg0ns-in-my-Future-Dreams_12286.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/d6a66ab113532744ed0eaa62ef670d1dacef391897d0b2bd6a4a49297449c945/There-will-be-Drg0ns-in-my-Future-Dreams_16465.jpg" data-mid="202955389" border="0"  src="https://freight.cargo.site/w/1000/i/d6a66ab113532744ed0eaa62ef670d1dacef391897d0b2bd6a4a49297449c945/There-will-be-Drg0ns-in-my-Future-Dreams_16465.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/38da13ca08b9ae73a7d6431b6c2396a5c727591515f367fe67b3614ee6f9420b/There-will-be-Drg0ns-in-my-Future-Dreams_18680.jpg" data-mid="202955390" border="0"  src="https://freight.cargo.site/w/1000/i/38da13ca08b9ae73a7d6431b6c2396a5c727591515f367fe67b3614ee6f9420b/There-will-be-Drg0ns-in-my-Future-Dreams_18680.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/80572abc0e4ecd661bf88438f3a8e0c6eb450b9b4c02a2ed779341e9a3e122ff/There-will-be-Drg0ns-in-my-Future-Dreams_19203.jpg" data-mid="202955392" border="0"  src="https://freight.cargo.site/w/1000/i/80572abc0e4ecd661bf88438f3a8e0c6eb450b9b4c02a2ed779341e9a3e122ff/There-will-be-Drg0ns-in-my-Future-Dreams_19203.jpg" /&#62;
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&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/41bf85d3d8e1c3c77fcead19726fa0e902aa99c403f3c35f77647cc881fa4f20/There-will-be-Drg0ns-in-my-Future-Dreams_29358.jpg" data-mid="202955394" border="0"  src="https://freight.cargo.site/w/1000/i/41bf85d3d8e1c3c77fcead19726fa0e902aa99c403f3c35f77647cc881fa4f20/There-will-be-Drg0ns-in-my-Future-Dreams_29358.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/6313a2a0278e8cb454e1fc9ba0ce2dd13f59a920600d9b9a45e008abc0cc4305/There-will-be-Drg0ns-in-my-Future-Dreams_29880.jpg" data-mid="202955395" border="0"  src="https://freight.cargo.site/w/1000/i/6313a2a0278e8cb454e1fc9ba0ce2dd13f59a920600d9b9a45e008abc0cc4305/There-will-be-Drg0ns-in-my-Future-Dreams_29880.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3df7d4dd604ff89f109be08de580f7356eb153b9ae226a4234f1f7bc48d843fd/There-will-be-Drg0ns-in-my-Future-Dreams_31426.jpg" data-mid="202955396" border="0"  src="https://freight.cargo.site/w/1000/i/3df7d4dd604ff89f109be08de580f7356eb153b9ae226a4234f1f7bc48d843fd/There-will-be-Drg0ns-in-my-Future-Dreams_31426.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/922bc4a815c18b0f761e21eadfed5488a0f91c40a8d6604f803a4421aaa6996c/There-will-be-Drg0ns-in-my-Future-Dreams_34289.jpg" data-mid="202955399" border="0"  src="https://freight.cargo.site/w/1000/i/922bc4a815c18b0f761e21eadfed5488a0f91c40a8d6604f803a4421aaa6996c/There-will-be-Drg0ns-in-my-Future-Dreams_34289.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/286cf76512c0f91619e84779fa3206f322781d51fc3b140cfedc4f47b0aab078/There-will-be-Drg0ns-in-my-Future-Dreams_35041.jpg" data-mid="202955400" border="0"  src="https://freight.cargo.site/w/1000/i/286cf76512c0f91619e84779fa3206f322781d51fc3b140cfedc4f47b0aab078/There-will-be-Drg0ns-in-my-Future-Dreams_35041.jpg" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Chinese mythology weaves a tapestry of ancient tales, with one majestic creature stealing the
spotlight – the dragon 龙. Rooted in the rich cultural heritage of China, the dragon symbolises
power, strength, and good fortune. A creature of myth and legend, it dances through the pages
of history, becoming an emblem deeply ingrained in the collective consciousness of the Chinese
people. Each year in the Chinese zodiac is not only represented by an animal but also by one of the
five elements: Wood, Fire, Earth, Metal, and Water. The combination of the animal and the element
creates a unique energy for that specific year. Adding another layer of symbolism to the Chinese
zodiac system.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; 
The dragon 龙 is associated with the Earthly Branch symbol of “Chen” 辰 and is linked to the
Wood element in Chinese astrology. Wood represents growth, vitality, and expansion. The dragon,
associated with Wood, symbolises strength, energy, and the potential for positive transformation.
This connection aligns with the belief that the dragon’s energy embodies the powerful force of
nature, much like the characteristics attributed to the Wood element in Chinese philosophy. The
interplay of these elements is fundamental to understanding balance and harmony in various aspects
of life, including health, relationships, and the natural world.


&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/327454a068a300fcaa0094e215d416cb1504a466e0d7d8e5417a9f05023ed970/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_29358.jpg" data-mid="202955413" border="0"  src="https://freight.cargo.site/w/1000/i/327454a068a300fcaa0094e215d416cb1504a466e0d7d8e5417a9f05023ed970/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_29358.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/fde11424418d3329070f6ea3f5c4d210f72ba0a2503d62f8782b48a79d26e818/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_34289.jpg" data-mid="202955414" border="0"  src="https://freight.cargo.site/w/1000/i/fde11424418d3329070f6ea3f5c4d210f72ba0a2503d62f8782b48a79d26e818/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_34289.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/7114a9520c16fd06cb033e96dc90b76e737dfdf43c10e0dfa4e0dd1ce53f757b/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_07376.jpg" data-mid="202955415" border="0"  src="https://freight.cargo.site/w/1000/i/7114a9520c16fd06cb033e96dc90b76e737dfdf43c10e0dfa4e0dd1ce53f757b/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_07376.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/9bf242f60f1399413eb5148fa0c9c4645049dea9d46a7cc62e16b4255a6e4f11/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_10636.jpg" data-mid="202955416" border="0"  src="https://freight.cargo.site/w/1000/i/9bf242f60f1399413eb5148fa0c9c4645049dea9d46a7cc62e16b4255a6e4f11/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_10636.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/47f06e8381cc7b00c6fe5f03f35cc3b99509caebb57a8bda2a7a2ccda30c65d0/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_11158.jpg" data-mid="202955417" border="0"  src="https://freight.cargo.site/w/1000/i/47f06e8381cc7b00c6fe5f03f35cc3b99509caebb57a8bda2a7a2ccda30c65d0/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_11158.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/0cd6aa0079cb8eb975f1b32b8323ddb8555300e117ead302ffb8268da1ef41e7/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_12286.jpg" data-mid="202955418" border="0"  src="https://freight.cargo.site/w/1000/i/0cd6aa0079cb8eb975f1b32b8323ddb8555300e117ead302ffb8268da1ef41e7/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_12286.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/8e679c2810eab9da6228497853be6b76b11627a48e4ac245a9b9ca04f7bb5c93/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_12851.jpg" data-mid="202955419" border="0"  src="https://freight.cargo.site/w/1000/i/8e679c2810eab9da6228497853be6b76b11627a48e4ac245a9b9ca04f7bb5c93/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_12851.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/edf7c615ec7bac05178c4251569f32e3e263875b9afd87e444fc724ab06edcc5/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_15943.jpg" data-mid="202955420" border="0"  src="https://freight.cargo.site/w/1000/i/edf7c615ec7bac05178c4251569f32e3e263875b9afd87e444fc724ab06edcc5/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_15943.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/41ea8796c73d0054be3ac6034f6315706c478c7c6ed9df4b9061b7fb9006f8d1/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_16465.jpg" data-mid="202955421" border="0"  src="https://freight.cargo.site/w/1000/i/41ea8796c73d0054be3ac6034f6315706c478c7c6ed9df4b9061b7fb9006f8d1/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_16465.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3aaae1840200cdec42dd984dc2156ca749139cc2cc10d728cbc5d5aff246c2e3/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_17552.jpg" data-mid="202955422" border="0"  src="https://freight.cargo.site/w/1000/i/3aaae1840200cdec42dd984dc2156ca749139cc2cc10d728cbc5d5aff246c2e3/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_17552.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f1c62fc53e8637f752a0989ee4c12f7804e91f5f9fbbf8f9c94ad5a40a612923/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_18074.jpg" data-mid="202955423" border="0"  src="https://freight.cargo.site/w/1000/i/f1c62fc53e8637f752a0989ee4c12f7804e91f5f9fbbf8f9c94ad5a40a612923/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_18074.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/52ddb359b57a41cd7e7d50610193010cd227a775309171af07e0801999af1b56/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_18680.jpg" data-mid="202955424" border="0"  src="https://freight.cargo.site/w/1000/i/52ddb359b57a41cd7e7d50610193010cd227a775309171af07e0801999af1b56/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_18680.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/dee14bf25ca4f7804566a09f41d0cc307df468bfcf65b81026758a913359f7db/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_19203.jpg" data-mid="202955425" border="0"  src="https://freight.cargo.site/w/1000/i/dee14bf25ca4f7804566a09f41d0cc307df468bfcf65b81026758a913359f7db/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_19203.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/923f8dbf34b239fce9563c61b571392a50833d248c7e54d3f0d4ec4a470933c6/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_19788.jpg" data-mid="202955426" border="0"  src="https://freight.cargo.site/w/1000/i/923f8dbf34b239fce9563c61b571392a50833d248c7e54d3f0d4ec4a470933c6/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_19788.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f73e144052d6769d960971ad79880f145c2b318350e40c21ca67087f6ae20118/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_20833.jpg" data-mid="202955427" border="0"  src="https://freight.cargo.site/w/1000/i/f73e144052d6769d960971ad79880f145c2b318350e40c21ca67087f6ae20118/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_20833.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/9df815889337fb3e3a67dc60a6b409c3b2ce8fa07992463a6074c716e3e6f2d3/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_28773.jpg" data-mid="202955428" border="0"  src="https://freight.cargo.site/w/1000/i/9df815889337fb3e3a67dc60a6b409c3b2ce8fa07992463a6074c716e3e6f2d3/There-will-be-Drg0ns-in-my-Future-Dreams_Specular_28773.jpg" /&#62;


the Digital Print,

C-Type-Chromogenic on Fuji Crystal Archive Gloss
Frame included. 669 x 1190mm


&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/ea34393990f3303c2638d87e150e99e74ac3cd6f0c36972496c7c03b509daa11/01_New-Moon-TWBDIMFD.jpg" data-mid="202275032" border="0" data-no-zoom="true" alt="New Moon [TWBDIMFD]" data-caption="New Moon [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/ea34393990f3303c2638d87e150e99e74ac3cd6f0c36972496c7c03b509daa11/01_New-Moon-TWBDIMFD.jpg" /&#62;
&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/6b40873a3555bbc49e9a40091bd29af17ae3e9e94e54d63cc2f45f36b12d1cba/02_Waxing-Crescent-TWBDIMFD.jpg" data-mid="202275033" border="0" data-no-zoom="true" alt="Waxing Crescent [TWBDIMFD]" data-caption="Waxing Crescent [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/6b40873a3555bbc49e9a40091bd29af17ae3e9e94e54d63cc2f45f36b12d1cba/02_Waxing-Crescent-TWBDIMFD.jpg" /&#62;
&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/37a9b8988b9898be4ec015334dba9a0b41632a70bd9de8d45a43af2a300e75bd/03_First-Quarter-TWBDIMFD.jpg" data-mid="202275034" border="0" data-no-zoom="true" alt="First Quarter [TWBDIMFD]" data-caption="First Quarter [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/37a9b8988b9898be4ec015334dba9a0b41632a70bd9de8d45a43af2a300e75bd/03_First-Quarter-TWBDIMFD.jpg" /&#62;
&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/3e2be057d952a8e1bbd5b0c72867887c1e90d270c4037bc2ddeb6235aa85e722/04_Waxing-Gibbous-TWBDIMFD.jpg" data-mid="202275035" border="0" data-no-zoom="true" alt="Waxing Gibbous [TWBDIMFD]" data-caption="Waxing Gibbous [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/3e2be057d952a8e1bbd5b0c72867887c1e90d270c4037bc2ddeb6235aa85e722/04_Waxing-Gibbous-TWBDIMFD.jpg" /&#62;
&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/0bdd0e1737fcc2168c97038d0b98b58ef85f992f89631016226ad250187f8922/05_Full-Moon-TWBDIMFD.jpg" data-mid="202275036" border="0" data-no-zoom="true" alt="Full Moon [TWBDIMFD]" data-caption="Full Moon [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/0bdd0e1737fcc2168c97038d0b98b58ef85f992f89631016226ad250187f8922/05_Full-Moon-TWBDIMFD.jpg" /&#62;
&#60;img width="3600" height="6400" width_o="3600" height_o="6400" data-src="https://freight.cargo.site/t/original/i/400f937a78ac5141a99f650c9800696fb6b845c6d122c6c8dd17cce215c3368a/06_Waning-Gibbous--TWBDIMFD.jpg" data-mid="202275037" border="0" data-no-zoom="true" alt="Waning Gibbous  [TWBDIMFD]" data-caption="Waning Gibbous  [TWBDIMFD]" src="https://freight.cargo.site/w/1000/i/400f937a78ac5141a99f650c9800696fb6b845c6d122c6c8dd17cce215c3368a/06_Waning-Gibbous--TWBDIMFD.jpg" /&#62;


the Artwork-Booklet.

8” x 8” Hardcover + Slipcase


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/77b43e2195d56346b075bdb5da418906019d5e28417710b95f62c8130ac13e26/ARTWORKBOKLET-1.jpg" data-mid="203248876" border="0"  src="https://freight.cargo.site/w/1000/i/77b43e2195d56346b075bdb5da418906019d5e28417710b95f62c8130ac13e26/ARTWORKBOKLET-1.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6704172ab9388f23e22ad148a36a686d1213d40c1d5db235e567c30d966c2477/ARTWORKBOKLET-2.jpg" data-mid="203248878" border="0"  src="https://freight.cargo.site/w/1000/i/6704172ab9388f23e22ad148a36a686d1213d40c1d5db235e567c30d966c2477/ARTWORKBOKLET-2.jpg" /&#62;

&#60;img width="2976" height="3720" width_o="2976" height_o="3720" data-src="https://freight.cargo.site/t/original/i/7cda023120809e618ee6ca644553151b78249091a4877fb3b08b39542e12b32e/IMG_7666.jpg" data-mid="203251602" border="0"  src="https://freight.cargo.site/w/1000/i/7cda023120809e618ee6ca644553151b78249091a4877fb3b08b39542e12b32e/IMG_7666.jpg" /&#62;
&#60;img width="2863" height="3579" width_o="2863" height_o="3579" data-src="https://freight.cargo.site/t/original/i/88ff8e8bb673e538b15d9c3cfcfea102a7d8a96bd10ad69bfcf3977c98bfb2b6/IMG_7653.jpg" data-mid="203251604" border="0"  src="https://freight.cargo.site/w/1000/i/88ff8e8bb673e538b15d9c3cfcfea102a7d8a96bd10ad69bfcf3977c98bfb2b6/IMG_7653.jpg" /&#62;
&#60;img width="2773" height="3466" width_o="2773" height_o="3466" data-src="https://freight.cargo.site/t/original/i/d6d42108c9509242ee78b04afce6d464ee539dac73a7ec6e9f269e351af30b71/IMG_7661.jpg" data-mid="203251605" border="0"  src="https://freight.cargo.site/w/1000/i/d6d42108c9509242ee78b04afce6d464ee539dac73a7ec6e9f269e351af30b71/IMG_7661.jpg" /&#62;


ExhibitionThere will be Dr@g0ns in my Future Dreams

Space: Harta SpaceTech supported by: AV Design, Filamen.Scent curated by:&#38;nbsp; KENS Apothecary (Diptyque)


&#60;img width="1728" height="2160" width_o="1728" height_o="2160" data-src="https://freight.cargo.site/t/original/i/84d03e1eb54b0fd537c5b6f64c32c7c5e9a09fa122affcc33a17f5b49209b933/01_SOCIALS_Future-Dreams-4K.jpg" data-mid="202955560" border="0"  src="https://freight.cargo.site/w/1000/i/84d03e1eb54b0fd537c5b6f64c32c7c5e9a09fa122affcc33a17f5b49209b933/01_SOCIALS_Future-Dreams-4K.jpg" /&#62;
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There will be a Dr@g0n Vernissage

03. Feb 2024.&#38;nbsp; &#38;nbsp;08pm-12am.

The exhibition launches featuring a lineup supported by the artist's friends. The event includes playlist curated by BB.Bulan, live performances by Shelhiel, DJ sets by NYK and Suhshi, VJ by Vas.Flow and Cerikapak, and Mixologist RAKH.KL—all set against the backdrop of the dragon’s spirit.Sounds by@supershelhiel @nyk @suhsi.be
Playlist curated by @bb.bulan
Visuals by @vas.flow @cerikapak
Mixologist @rakh.kl
	
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Explore +++ photos at&#38;nbsp;
There will be a Dr@g0n Vernissage


Tea &#38;amp; Frequency
07. Feb 2024.&#38;nbsp; &#38;nbsp;03pm.


To welcome the Lunar New Year, Shaman Tearoom, Aiwei Foo, and Kent Lee conducted a tea and sound ceremony amidst an open conversation.&#38;nbsp;
_the convergence of auditory and visual stimuli_the interconnectedness of existence_the ethereal essence of the dragon spirit_the fusion of ancient symbolism and contemporary expression.


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	ExhibitionComprehensive Cognitive Evaluation within "There Will Be Dragons in My Future Dreams"
"This video is part of the Digital Art Program by @uvnt_art in Madrid and is projected on over 150 digital screens throughout the city. Curated by UVNT Art with the support of @todoestaenmadrid and @jcdecaux_es."


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