My Video Making Practice: Screening and Dialogue Sessions My Video Making Practice: Screening and Dialogue Sessions

My Video Making Practice:
Screening and Dialogue Sessions

  • Sat & Sun, 5 & 6 Mar 2022

  • The Engine Room, SAM at Tanjong Pagar Distripark

  • 3–6pm

  • Free, by registration

    Registration Link

Join us for screenings of My Video Making Practice, a new project by Malaysian artist Gan Siong King, which he began at the start of the COVID-19 pandemic. This mashup of artist talk, screening and dialogue session explores Gan’s video-making practice through a video essay featuring 11 video works from six different projects made in the past decade. To draw out different perspectives on and reactions to Gan’s new work, each screening is accompanied by a dialogue between the artist and a different moderator. The screenings are presented as part of the Gan Siong King: My Video Making Practice exhibition, which also features the video installation Kecek Amplifier bersama Nik Shazwan.

Sat,5 Mar–Video as Counterpoint
Join us for a dialogue between curator Goh Sze Ying and artist Gan Siong King on the relationship between painting and video in Gan’s practice.

Sun,6 Mar–Risks, Routines and Collaborations
Join us for a dialogue between three artists, Gan Siong King, Hilmi Johandi and Wei Leng Tay, on the processes and collaborations that inform their artistic practices.

Gallery closure
Please note that The Engine Room gallery will be closed to the public from 2pm onwards on 4, 5 and 6 March for this screening and dialogue programme.

About the artist
Gan Siong King
Gan Siong King (b.1975, Malaysia) trained as a painter in the early 1990s. For the past decade, his practice has explored painting and video, as well as the use of multi-disciplinary forms. His works centre on unpacking conventions in art and social structures in order to question, reflect and imagine different ways of seeing and being. Gan has exhibited his work at the 6th Asian Art Biennale (Taichung, 2021), Koganecho Bazaar Vol. 2 (Yokohama, 2020), Biennale Jogja XV – Equator #5 (Yogyakarta, 2019) and Ilham Gallery (Kuala Lumpur, 2017). He lives and works in Kuala Lumpur, Malaysia.

Please note:

  • By attending this programme, you consent to being photographed, filmed and/or video-recorded. These materials may be used by SAM for museum-related publicity purposes only.
  • We reserve the right to cancel or reschedule the event.
  • This programme is conducted at SAM at Tanjong Pagar Distripark, Level 1, The Engine Room.
  • In line with the latest government guidelines, only fully vaccinated visitors are permitted into the museum.
  • This programme is by registration only. Only registered participants are allowed to attend.
  • Seating is on a first-come, first-serve basis.
  • For the enjoyment of participants, the programme will start promptly at the time stated. Please arrive early or at least 10 minutes before the start of the programme.

    about the speakers

    Goh Sze Ying
    Goh Sze Ying is a Curator at National Gallery Singapore. She has worked on the exhibitions Something New Must Turn Up: Six Singaporean Artists After 1965 (2021), Minimalism: Space. Light. Object. (2018), Lim Cheng Hoe: Painting Singapore (2018) and Listening to Architecture: The Gallery’s Histories and Transformation (2017). Goh was one of the co-curators of the Singapore Biennale 2019: Every Step in the Right Direction.

    Hilmi Johandi
    Hilmi Johandi works primarily with painting and interventions with various media to explore ideas of image-making. He composes and synthesises images from film, archival footage and photographs into a fragmented montage that hints at the social effects of rapid development. Beyond a reflection of nostalgia, Hilmi’s work is a subtle portrayal of society that encourages the viewer to reflect on Singapore’s historical narratives.

    Wei Leng Tay
    Wei Leng Tay works across disciplines including photography, audio, video and installation. She considers ingrained modes of perception and representation by engaging with formal strategies in installation, the relationship between image and text, and social encounters. She also questions photography’s relationship to contemporary society through the medium’s materiality. Tay’s current interests lie in displacement and migration in relation to ideas of agency and belonging.