Junklord Hikayat (Sharmini Aphrodite, fyerool darma, Shif, POFMAMAXX and Manni Wang)
Digital film, colour in 4K with sound, 2024, single-channel video (colour, sound), 8 minutes 34 seconds
Included as part of Singapore Art Museum, organized with TONEWENTITIES -
OS 2_Operating Systems: Knowledge Systems
COREMEMORY: §ænt
featuring Darius Ou, mr. jalee, Megisba, Anu, Erik Molien Flower fka Mohamed Hadji Abdurahim, Saurapod and Waklu Daki
❤️🔥
§hæaa~featuring Darius Ou, mr. jalee, Megisba, Anu, Erik Molien Flower fka Mohamed Hadji Abdurahim, Saurapod and Waklu Daki
❤️🔥
§hæaa~ in a hyprgrRD’(Right) A digital drawing by ‘ANU’, who inspired the writing of the book. Written by fæyur or fyerool darma as a nucleus to the presentation ‘COREMEMORY: §ænt
❤️🔥
§hæaa’ presented by Absolut Space at San Ho Art Lab, Tainan City, TW.The publication is designed with cinotiUHD and published by Perpustakaan Antara Galaksssi (PAGi), printed in Tainan City
The work employs narrativity as a method in artmaking. Extension from the book were translated to sculptural object synthesised with polyurethane of materials gifted from Kenji Hayashi, Yi-Min, gogoro and offcuts from 旻欣網版印刷有限公司 Min Xin Screen Printing Co. Ltd. (Tainan City, TW) which includes materials like carbon fibres, nylon, copper, polyethylene, polyvinyl chloride prints salvaged, manufactured pine wood amongst many.
(Below) Photographs of ’Posteknorganika Specie: Mala Spicysiels' and Anu weaving/developing a core memory
Presumably captured by Erik Molein Flower fka Mohamad Hadji Abdurahim, undated
Image translation presumably with chlorophyll and synthetic polymer paint and inkjet ink on 90 gsm bleached paper
Presumably captured by Erik Molein Flower fka Mohamad Hadji Abdurahim, undated
Image translation presumably with chlorophyll and synthetic polymer paint and inkjet ink on 90 gsm bleached paper
༄ with Anu, Darius Ou, mr. jalee, Megisba, Erik Molien Flower fka Mohamed Hadji Abdurahim Tekla Bądarzewska-Baranowska, Saurapod and Waklu Daki
A machine withdraws into its core memory drive as it surrenders into expiration. Amidst the clouds, a reverbing sound of Tekla Bądarzewska-Baranowska’s ‘A Maiden’s Prayer’, embedded upon by predecessing weavers, manufacturers and programmers plays in loop. Upon its wake, it rebirths into a rhopalocera. The work examines the concepts of time and expiration from the viewpoint of a rhopalocera. The work employs screenshots of essays, articles and lores that are knots to the keyword ‘malayo-polynesia’; interspersed with stock and generated images as a prompt in questioning on the dependence of technology, visuality and methods in web mining amplifying on the generated, degenerating and re-generating energies that art-making is dependent upon.
Written by fyerool darma, sound composed and arranged by mr. jalee, Megisba and berukera. It contains a tune of Tekla Bądarzewska-Baranowska's Maiden's Prayer played by Waklu Daki on a Sonoma 14.5 iOS System, Garageband midikeys of 'Scroll & Glissant’ plugins. Text design and animated by Darius Ou (Studio Darius Ou) of a poem orated by Erik M. Flower fka Mohamed Hadji Abdurahim, edited by cinotiUHD. Contains stock images alongside generated images with Stable Diffusion, and screenshots of essays, articles, news, memes, reels - literatures interwoven with the keyword ‘malayo-polynesia’ on the archives of web 2.0, jstor amongst others, generated by cinotiUHD.
The short received support from NTU Center of Contemporary Art Singapore and Absolute Art Space AiR Program 2024. It includes a portion from Pathfinder: A Pantun by Erik Flower and is presented in COREMEMORY: §ænt❤️🔥§hæaa~ as an extension of the book
Photographs by megisba
l❤nd$c❤peSs r d❤t❤ w❤$teZz
featuring Aleezon, jonathan tan, LKS and Lé Luhur from Autaspace
2023 - 2024
Polymethyl metacrylate (Plexiglas Tiger), carbon fibre and epoxy resin (NicPro) and printed cotton with synthetic polymer paint (Golden), chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (Vvivid XPO) on anodized aluminium alloy, honeycomb retroreflective tape (Grip-On), non metalized reflective tape (Steve & Leif) on polyvinyl chloride on wood on polymethl metacrylate
Exhibition view courtesy of CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2024
for CHAT 5th Anniversary – ‘Factory of Tomorrow’ / Closeup view courtesy of Erik Flower for cinotiUHD
Installation view with components of installation at MAIIAM Contemporart Art Museum in Chaing Mai, TH. Photographs by Phuping Tankasem. Courtesy of MAIIAM Contemporary Art Museum.
“In this newly commissioned artwork, the artist provides customised, portable seating. One accompanying sound recording was arranged and produced by the artist’s collaborators berukera and gr834$ternl4if using a DAW with the plugin Berlin Techno Kit. Fyerool combines archival research and speculation around a historical figure named Erik Flower, formerly known as Muhamad bin Hadji Abdurahim, who was born in Johor Bahru and resettled in Berlin in 1917, and who Fyerool encountered in a 2021 essay by meLê yamomo [’Acoustic Epistemologies and Early Sound Recordings in the Nusantara Region: Phonography, Archive, and the Birth of Ethnomusicology’] that describes his acoustic and poetic works that were recorded in 1917 and stored in a Berlin sound archive. A second sound recording narrates a seance with Flower. “ Dr. Roger Nelson
The exercise was included in the exhibition The Unfaithful Octopus curated by Dr. Roger Nelson at NTU ADM Gallery, Singapore in 2023 currently at MAIIAM Contemporary Art Museum, Chiang Mai in 2024.
Here for a pdf of the manuscript. Sound arranged and designed by berukera with a polyphony of vocals in 2024.
Below, installation view of Pathfinder with Aleezon, Sharmini Aphrodite, berukera featuring Erik Flower, 2023
Shaped plywood, polyvinyl chloride, printed polycotton on
reupholstered camping chairs with pigments and coating (Samurai2K),
7mil polyester film, sound
UHD Aznjunglizt featuring Taufiq Rahman, Nurhayd Naufal and cinotiUHD
flex banner, 400 x 900 cm, 2022 - 2024
flex banner, 400 x 900 cm, 2022 - 2024
Comissioned by the Lagos Biennale 2024, UHD Aznjunglizt featuring Taufiq Rahman, Nurhayd Naufal and cinotiUHD 2023 engages with the proposed but failed ‘Maphilindo Confederation' (Malaysia, Philippines, Indonesia) of 1963 and was first developed as part of ‘To A Faraway Friend: Afro Southeast Asia Project' at Asean Culture House, Busan, in 2022. Inspiration for the work includes Kitsch-men as Tourist by Ludwig Geisz (1960) and ASEAN 2030: Towards A Borderless Economic Community (2014) by the Asian Development Bank Institute. An inquiry into the extraction of technofossils among other things, the artist calls the work a ‘disadvertisement’; the title breaks down to Ultra High Definition (UHD), Azn (a vernacular spelling for Asian), and Junglizt, which is a play on the word jungle and can also refer to inhabitants of the ‘bush’ in inland areas of Southeast Asia.
Included in CAPTCHA as part of refuge: Lagos Biennale 2024
The work is an extension of the artist project