Launched yesterday, “Clement Space @Suwon, 2020” and “An Olfactory Map of Sydney, 2017” is part of a show at the Suwon Art Museum, South Korea. (00:40 – 01:00)
Thank you to Jinseon and everyone in the team who sought me out and connected with me, I’ve had a wonderful working experience with you. Everyone is so kind and polite, a lot for me to learn!
Here is the Korean write up, for those who know the language:
#그것은_무엇을_밝히나#전시#개막 . 수원시립미술관은 아트스페이스 광교에서 9월 22일(화)부터 12월 27일(일)까지 기획전 ≪그것은 무엇을 밝히나≫를 개최합니다. . 이번 전시는 이 세상을 밝히는 근본적인 요소인 ‘빛’에 관한 이야기입니다. . 전시 제목에서 알 수 있듯, 빛을 의미하는 ‘그것은’ 시간의 흐름에 따라 시대와 사회가 공유하는 ‘무엇을’ 어떤 시각과 입장으로 어떻게 ‘밝히나’의 이야기를 담고 있습니다. . ‘1부 : 시공간을 확장하는 빛’에서는 ‘빛’과 시간 공간이 결합하여 나오는 여러 가지 경험들에 관한 탐구와 관점을, . ‘2부 : 사유의 매개로서 빛’에서는 빛에 대한 우리의 시선을 가시적인 세계 너머로 이끌며, . ‘3부 : 공동체 메시지를 전하는 빛’에서는 각각의 고민을 통하여 개인적 상징인 작은 불빛을 이용해 사회적인 현실을 담아냈습니다. . 각 섹션을 통하여 7개국 10명의 작가들이 제안하는 다층적인 빛을 아트스페이스 광교에서 만나볼 수 있습니다. . 현재 수원시립미술관은 현재 수도권 지역 사회적 거리두기 2단계 조치로 코로나19 확산 예방 및 관람객 안전을 위해 상황 진정 시까지 휴관 중이니 온라인으로 ≪그것은 무엇을 밝히나≫ 전시를 만나보세요. .
A term coined by me in my PhD dissertation, “Clement Space” denotes a mental and physical ‘space’ for sensory equilibrium, an oasis in the midst of raging, parched desert sands. Like empathy, Clement Space is not some beauteous space that comes from a wave of the magician’s wand. It needs to be designed, crafted and maintained. Calm and serenity actually require a great deal of active energy in order to create and achieve. It also needs guarding against antagonistic elements from within and without, i.e. from inside our own tempests as well as from people (other) who may encroach upon our carefully built peace, whether intentionally or not. Unlike teacakes on a platter in a fancy restaurant, Clement Space isn’t at all about waiting passively for others to provide, but an action – sometimes even quite vigorous – towards that much-needed state of rest and restoration.
I was invited to the Opening of the Children’s Biennale at the National Gallery today. My anxious mind of course required a two-day preparation for this, but I had been looking forward to it since the invitation arrived in my email’s Inbox. The build up was, of course, a gradual crescendo at first, and then a rapid stretto build up as the event drew nigh. Anxiety + hypersenses + attention to detail all jumbled together. Creating order from chaos is part of the reason behind all the careful planning that precedes every single occasion.
The National Gallery has now become my favourite art space in Singapore. I love old historical buildings, and this one is a grand one. There are many small little quiet nooks dotted around the huge expanse that one can duck into for some respite, if things get too overwhelming. There are some inaccessible spaces that wheelchair users would be unable to reach, unfortunately, due to the nature of the building, but they’ve done their best to make the exhibits as accessible as possible. I am truly bowled over by the National Gallery’s efforts towards access and inclusion, something I’ve not experienced to this extent in Singapore before. Lucy is welcome in this space, and they treated us like royalty the first time we came (which was a tad over the top, but I deeply appreciate the care they took of us, a stark contrast to always being stopped at the door with many a gruff, “NO DOG ALLOWED!”), but I left Lucy at home today because she wasn’t feeling very well.
Seems as if I’ve been involved in quite a few “firsts” in Singapore lately. The most recent was the very first Autism/Neurodivergent-Led, Disabled-Led Art & Design residency, which was support by the National Library’s library@orchard branch, and yesterday saw the soft opening of Singapore’s first Neurodivergent immersive and interactive space – crafted by two autistic artists and two artists with Down syndrome, curated by Esther Joosa and Imran Mohamed for Playeum, a centre for children to discover creativity in multiple ways. Continue reading →
In a previous post, I mused about Disabled Leadership, the great divide between theory and practice that many disabled persons face, and suggested one fundamental element that is crucial to recognition of disabled participants in the conversation on disability: payment as a basic mark of respect. Now, in this brief ‘follow-up’ post, I’d like to provide some straight-forward concrete examples of its practice in the arts and film.
I’ve iterated and reiterated before, and now once more, I am no activist – I have an aversion for confrontational activity, but advocacy is something that most disabled professionals are forced to engage in (in some way or other) due to the dominating climate of ableism and stubborn ignorance surrounding the disabled practitioner. In other words, advocacy – sometimes quite vehement and insistent – is made necessary because disabled practitioners need to clear the debris-strewn paths, clogged channels, and polluted waterways so that we can proceed with our practice. Continue reading →
“For autistic artist-researcher Dawn-Joy Leong, spaces are vividly coloured by scent, sound, sight and touch — sometimes overwhelming, even disgusting, at other times relaxing, harmonious, or gloriously amplified. Leong explores her heightened sensory experiences of the world through her art and writing, encouraging her audiences to engage with their own sensoriums, at the same time opening up avenues of empathy and communication between ‘neurodiverse’ and ‘neurotypical’”
An excellent article by Katie Sutherland in The Conversation about Autism and the Arts. It is both a relief and a joy when non-autistic writers or producers etc write / make features that are respectful, inclusive and accurate when portraying or talking about Autism. Thank you, Katie Sutherland!
Featuring Snoosphere by Lull Studios, my two works, Clement Space and An Olfactory Map, and Thom & Anglemouse’s Rush Hour at Cloud Heaven. Please click on the link:
“Rancid perfume. Stinky babies. Sweaty clothes. Garlic hair. Human bodies putrefying and I think my own is beginning to smell,” declares artist and researcher Dawn-joy Leong in her installation, An Olfactory Map of Sydney, at Customs House in Circular Quay.
At times confronting, at times funny, Leong’s graphic description of the assault of odours while travelling by bus forms a series of video monologues about her sensitivities to smells, sounds, light, colour, tastes and movement.
Leong is autistic and regularly feels overwhelmed due to hyper-sensory perception. This can trigger extreme reactions such as nausea, headache, vertigo and sometimes excruciating pain. Through Leong’s work, the viewer gets a real sense of how exhausting having such a heightened awareness must be, particularly in a world designed for “neurotypicals” – people who are typically wired or non-autistic.
“Many autistics experience “body‑in‑space” challenges. The opening poem describes my own proprioceptive quirk: I can dance, but the simple task of walking along the pavement without tripping requires a conscious rhythmic pattern in my mind, usually in the form of a song or a tune. Other idiosyncrasies inherent to autism include extreme sensitivity to the visual, auditory, olfactory and tactile senses. Lights, colours, sounds, vibrations, smells, tastes and textures may separately or in complex confluence trigger extreme reactions like nausea, headache, vertigo and even excruciating pain. The mental propensity towards precision – that is, noticing things in greater detail, also heightens sensory reception and reaction. A common unifying theme in this richly woven, polyrhythmic and highly chromatic existence is that of anxiety. Coping with life in an environment not designed for and conflicting with native autistic modalities, the autistic person is constantly in a state of stress.”