animals are important

August 29th, 2009 pianist

Trap

chicken trap, 2009, ICZ

I am not saying animal traps and animal experiments in the name of science are a cruel representation of our relationship with nature. In fact, I find these traps and experiments a necessary process and development between our relationship with animals and nature. This may sound ironic but we live in ironic times. I am not an activist and I approach my observations through art.

My friend who worked for one of those ’society of prevention of cruelty to animals’ once told me that he felt the society’s agenda had an objective play on subjectivity and their political agenda was problematic. My friend later moved to Africa and opened up a wildlife hunting ranch. His ranch, along with other hunting ranches, now supports some of the biggest wildlife conservation projects in Africa.

Zoos are important to us today. Zoos must be important because without Zebras in Zoos, my niece might never comprehend the true meaning of the alphabet ‘Z’. She could not remember what Z was for until I brought her to the Singapore Zoo. Now, to her, Z is both for Zoos and Zebras. The idea is not so much that animals are living in un-natural spaces and that they are suffering but rather it has become of one the last ‘refuge’ which animals can still survive alongside humans.

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Wildlife photography and its trauma

August 24th, 2009 pianist

I was 8 when I saw a wildlife photographer in action.

He was dressed in green and brown. He was rather well camouflaged in the park. This will later seem rather useless in the  the kind of images he was going to create.

It was in the park where I got my first profound understanding of how wildlife images are created.

He was going around with a camera mounted on a tripod, with a large flash and lens. He was shooting everything and anything. I was sitting on the bench waiting for my dad.

I remembered he suddenly squatted down. I could hear a little bird chirping, it had fallen out of its nest. I could hear the photographer’s camera clicks getting more frequent.

I walked towards the commotion. The photographer didn’t really mind my curiosity. I offered some ice-cream to the bird for comfort, and the photographer carried on snapping.

The bird wasn’t exactly little, it was like a little adult, with a three quarter grown plumage.

I remembered lying on the the grass to get a  better look at the bird. The bird hopped towards me and stared at me.

I was looking at the bird for the longest time. I remembered looking into the bird’s eyes and my mind started to travel.

I realized from the bird, I was part of a system larger then my family. Maybe I was projecting my thoughts too much on the mute animal, maybe I was already separating my distinct human self from the animal. But something profound happened that made me realize I was rather lonely without animals and somehow the bird had a more beautiful concept of freedom then me. I was the one that was trapped. Later in my adult life I will proceed to trap many other animals to make sense of the natural system we are apart from or rather a part of. I am lonely and at the same time, I yearn to be together with animals.

The little bird hopped onto my hands and after singing a little chirp of a song, it flew off into the sky.

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Paradise Lost

August 2nd, 2009 pianist


ID, 2006 Zhao Renhui

ID, 2006 Zhao Renhui

7.59. What happens a minute before 8am? Straits Time photographers show their interpretation of that moment in the Prime pages every Monday entitled 7.59. We aim to capture everyday scenes across the island with a different perspective, bringing readers a slice of life that would perhaps go unnoticed.” From The Straits Time, every Monday.

The document as Local God

For Paradise Lost, I assume a role of an artist for artists.

Documentary photography to me, is an attempt to ‘document’ ‘reality’. The photographer documents in his own perspective (be it a staged narrative or a pre-existing scenario) and creates a perceivable and apparent reality. This reality can slip and slide in different contexts. In the context of a newspaper, the construct of this reality can be naive. (In the context of a gallery exhibition, it can be confusing.) Regardless of whether the photographs in the 7.59 section in The Straits Times were really taken at 7.59, we tend to believe and even worship images passively, indirectly or sub-consciously.


Mobile Upload, Saddam Hussein

Read the rest of this entry »

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about photography by Thomas Ruff

July 4th, 2009 pianist

Pocock: What do you mean by real reality?

Ruff: Photography has been used for all kinds of interests for the past 150 years. Most of the photos we come across today aren’t really authentic anymore–they have the authenticity of a manipulated and prearranged reality. You have to know the conditions of a particular photograph in order to understand it properly because the camera just copes what is in front of it.

Pocock: Why did photography become so important in the art world?

Ruff: Maybe it’s a question of generations. My generation, maybe the generation before, grew up with photography, television, magazines. The surrounding is different from a hundred years ago. Photography became the most influential medium in the Western world. So nowadays you don’t have to paint to be an artist. You can use photography in a realistic, sachlich way. You can even do abstract photographs. It’s become autonomous.

From, The journal of contemporary art

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BESTIARY by Boria Sax

June 27th, 2009 pianist

BESTIARY

The elephant,
An asteroid
That struck earth
And walked.

The moth,
An autumn leaf
Still flying
Without a breeze.

Dolphins,
Waves
That did not vanish
Into the sea.

Jellyfish,
Dreams
Of drowned
Mariners.

The lion,
A field of sun
Curled up
For the night.

Each minnow,
A pebble
The ocean caressed
And coaxed to life.

Boria Sax, 2009,

originally from The Raven’s Wing

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a desert cockroach

April 13th, 2009 pianist

Tottori Cockroach, Adult Male, 1913 Dr.Dong holding speciemen

 

This Friday, I will be embarking along a trip of a lifetime. After much persuasion and convincing, The Director, Tomo, along with the board of companies, has approved of my trip into the unmarked zone down at the Tottori Sand Dunes, where the amazing cream white cockroaches thrive. Before you go googling them up, don’t. All you will get are white moulted skins of cockroaches found at the back of fridges.

The Tottori Cockroaches is a close relative of the common german cockroach which is found all over the world. They resemble closely to the international pest version but a little tad more sensible in their aesthetic evolution. From what I gather from the Institute’s documents in the 2003 expedition, they have found the cockroaches to be extremely toxic. This is due to their diet. They feed on the roots and leaves of the eastern Juniper which are extremely toxic. The zoologists are not able to figure out if the cockroaches have produced enzymes to detoxify the poisons of the plant, or the cockroaches simply poison their bodies and at the same time preserved their bodies from being eaten in the desert. It appears the enzymes of the poisonous leaves and roots cause the cockroaches to lose their yellow coloration slowly. A younger Tottori cockroach would appear more yellowish then a slightly older cockroach. It is not known if the young is born totally brown and lose their pigmentation as they age.

The origins of how the cockroaches came to be discovered are interesting. The research and re-discovery was one of the promising results of the Institute’s initiative to constantly break the barriers of art and science. One of the first artist in resident, Thomas Horniman, came across a picture of a white Tottori cockroach in the institute’s 200 year old archive in 1999. The photograph showed a white insect being held in the hands of the late Dr.Dong. Thinking nothing of it, he continued to browse through the archives. Thomas became more curious with Dr.Dong’s images as he dug deeper. In 1913, Dr.Dong made numerous trips to the Tottori Desert. As the archive was scattered in bits and pieces, Thomas couldn’t really make up what Dr.Dong was searching for in the desert. There were excavators and diggers all around his photographs. It had never occur to him that Dr.Dong was looking for the Tottori Cockroaches. It appears that Dr.Dong was aware of the presence of the species but had wanted to study the insect in its natural habitat at greater detail. Thomas later made the link with the first image after extensive translation and research was done on the documents.

There are no further documents after 1914 by Dr.Dong, artifacts of even specimens of the Tottori Cockroaches in the archive. Nobody really knew if Dr.Dong found anything from his expeditions.

And that was what Thomas wanted to know, to find out if Dr.Dong found anything more on the Tottori Cockroaches. In 2000, Thomas with 8 other zoologists set out to re-trace Dr.Dong’s expedition.

I had a chat with Thomas over the phone earlier, and he told me at that point of time, he felt like he was an archaeologist and a zoologist who had to remind himself he was an artist. He felt like an archaeologist looking for the forgotten city of Dr.Dong’s excavation grounds. He also felt like a zoologist looking for a lost and mythical creature. He kept in mind that his mission was to present these information and research with an aesthetic treatment different from science.

Thomas and his team manage to re-trace Dr.Dong’s exact excavation sites. It was only to be 2 years later that Thomas managed to capture a pure white adult specimen. Thomas had made 8 trips back to Tottori since his first trip. The reason they took so long to discover the adult speciemen was because whiter adults tend to dig as deep as 2 m below the surface of the ground and come out only very rarely at night and almost never in the day. “You would think that they were white to blend into the sand, but I realize they could also be white because they shun away from the sun for so long.”

A lot of specialized equipment was used to excavate a fully grown white Tottori cockroach from 2m below the sand. It was a lot of trail and error on the team to finally formulate a way to bring the cockroach back to the surface after locating one. 

“We come across smaller and yellow ones throughout the night but we have always hoped to catch a pure white one, like the one in Dr.Dong’s image.” said Thomas. Today, Thomas is still mystified by how Dr.Dong managed to retrieve his Tottori cockroach in 1913. “You would have thought you wanted to share this knowledge and discovery with the rest of the world.” 

And perhaps the unknowability of this discovery shall always stay within the walls of The Institute of Critical Zoologists. Like how all knowledge is created and shared and shaped by science, there are some that will shy away and survive to become myths. The Institute seems perfectly fine that the status of the Tottori cockroaches will remain this way. If you think that this is the decision of the companies funding the Institute to keep this a secret, think again. The decision for this closure was in fact a conscious decision by the directors at the Institute. The directors first weigh if the announcement of the discovery of the species is in anyway beneficial for its current survival as a species. Next they consider if the cockroaches really need to be discovered by humans.

“Seeing that the Tottori Sand Dunes gets trampled by 10am almost every day in the tourist swamped areas, the Institute was convinced that the community at large should not really know about them.” Thomas said that the knowledge was addictive as well. Within 2 months of their discovery of the first adult cockroach, the team dug up 498 others within the region. “Maybe Dr.Dong knew that sometimes an amazing discovery may not necessarily help a species at all, not when they have evolved to elude us humans.” 

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monkey trap

February 19th, 2009 pianist

I was walking by the forest’s edge when I saw that black ball by the field. The black ball itself did not interest me that much, but it was the creation of that context that I was interested in. I wanted to know for whom the  ball was for and who put it there? I knew it was some sort of a trap because of the miserable food scraps within the ball.

Trap Setter with Black Crested Gibbon (Nomascus concolor) Trap

The ball, later turned out to be a monkey trap, an ingenious contraption created by the locals to trap gibbons. There were many versions of this trap before the one I was staring. The igmoks have perfected their trap to the shape of a ball.

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December 14th, 2008 pianist

Setting up of new tiger farms, Japan 2008, Official Opening

My photographs examine the curiosity and increasing disconnection that exists between humans and the natural world. My work explores simulation, spectacle, and reconstruction. My practice looks at points of intersection with animals in our human-made world—our coexistence—and explores notions of their spectacle and the reality of loss through mediation.

In the past five years, my interest has been filtered through  documentations and current trends on the zoological gaze in zoos, natural history museums and circuses. I wanted to know why looking at  live and dead animals is considered enjoyable in our society. My work  serves as a point of imagination and discussion upon our relationship  with animals.

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The Animal Crusade

November 10th, 2008 pianist

Some of us will love animals.

http://hypnozoo.blogspot.com/2008/10/frre-le-tigre.html

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jzlimages.com

October 16th, 2008 pianist

http://webfarm.foliolink.com/Artists/6350/I AM CMP.pdf

“The reality is that we are merely human and can never hope fully to understand animals. The successful portrait will capture that mystery by distilling what John Berger describes:

“The animal scrutinizes [Man] across a narrow abyss of non-comprehension…
The man too is looking across a similar, but not identical, abyss of non- comprehension…He is always looking across ignorance and fear.”

In ages past, animals were surrounded by a sense of mystery and humans had a
heightened respect for them as a result.  Our perception of ever-accumulating
knowledge has destroyed that respect. Re-discovery of a sense of mystery
surrounding animals may help revive our respect for our fellow creatures.
How can one engage the viewer in an attempt to get closer and have a
metaphorical conversation with these animals yet emerge with a heightened
sense of mystery and a recognition of our limitations, as mere humans, in ever being
able to understand the non-human animal?

Taken from Dr Joe Zammit-Lucia Musings on Animal Portraiture
… and its role as a Conservation tool   .

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ICZ presentation at the National Museum, Singapore

October 15th, 2008 pianist

It is important to me that I reveal the fictions in my work to my audience. I have always worked with scientific facts and aesthetic fictions.

There are some models of fiction that I work with, and I am beginning to think that certain things between humans and animals can only exist in fiction. The fiction takes place on the internet, in the news, in wildlife documentaries, in museums, in zoos and in our imagination.

I have long ago disabused myself of this trajectory that my work should unveil some hidden information and bring about some enlighted consciousness that will prompt some progressive action. I think this trajectory has long ago been proven or rendered ineffective and it is not the way that we work or experience the world around us. To me, my previous body of work remains problematic and my work in the Institute of Critical Zoologists serves as a balance, or an outlet for an alternative answer to the confusing and represented relationship we have with animals. I remain disturbed and guilty of indulging in the dire straits that animals are in today when they come into conflict with humans.

Once I remember searching for the most dramatic situations for animal activists groups and NGOs and to capture a story for all to see. I did the story and still I felt guilty. I was guilty for a fact that comments on my work like “I love this” and “This image is gorgeous” did not really satisfy my investigation into the relationship between humans and animals. What was represented became a consumable drama and the reality of the problem was ignored. There must be a way to portray this problematic relationship without having to exploit the subjects over and over again. To me, my older series of work in animal menageries have failed.

In John Berger’s famous essay in which is titled ” Why look at animals? “, I try hard to find an answer in his essay. He laments on the distanced relationship we have with animals but does not offer an answer on why we look at animals. His biggest clue to me was that the spectator-ship is always wrong.

Today, the way I work is that I produce my own documents within an institution. I find facts, trends in wildlife conservation and objects that affect me, and I imagine a sort of universe in which they exists and sometimes it is necessary for me to imagine events from which they happen. But like all wildlife documentaries that carries a bit of truth, I have always layered my work with facts and truths.

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Contact

June 6th, 2008 pianist

There was an error on my part when I applied for the Project Assistant Awards with the British Journal of Photography on http://www.bjp-online.com/public/showPage.html?page=797830

The email should have been renhui@criticalzoologists.org.

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medicinal tigers

May 11th, 2008 pianist

I was speaking to Tako from the institute of critical zoologists earlier this evening, and he told me that the concept of tiger farming reflects a unique situation of our present age. Not only are we living in an era where we, as a civilization, are not able to personally kill our chicken for poultry, but we are also selling our magnificent tigers in order to save it. The situation reflects closely to what is being done in Africa where wild life ranches are being set aside for hunters to kill wild game. The ranches are being set aside for hunting and at the same, preserve wildlife.

from http://www.criticalzoologists.org/projects/medicinal_tigers/medicine_tiger.html

“This proposal is based upon the premise that biodiversity is best preserved by commercialization. Medical farming may possibly be the most positive and widespread economic incentive for the conservation of tigers in Asia.

Maintaining a species survival will be more profitable as a sustainable resource, whether as a spectacle for tourists, coffee for Star Bucks free trade, ingredients for skin lotion, quarry for big-game hunters, or raw material for pharmaceutical firms. Our medicinal tiger farm model closely follows the wildlife ranches in Africa.

In Zimbabwe, to promote the conservation of the wildlife resources found on communal lands, private game reserves have been established where revenues from hunting are paid to local communities. Recreational hunting is now the most positive and widespread economical incentive for the conservation of large mammals in Zimbabwe.

Jeffrey A. McNeely, “Economic Incentives for Conserving Biodiversity:
Lessons for Africa,” Ambio 22 (1993): 147.

Since poachers have decimated the wild tiger population, commercial captive breeding of tigers appears to be smart resource management. Huge financial resources has been allocated for wild tiger preservation to date and the results has been disappointing.”

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The Museum of the Institute of Critical Zoologists, ICZ collection

April 30th, 2008 pianist

http://www.criticalzoologists.org

Dear people,

I am currently (and finally) working at the institute of critical zoologists.

Object Number : ICZMC/108
Collection : ICZ
Common Name : Chameleon
Scientific Name : Chamaeleo

Taxon : 1 Dry preparation of Chameleon

Object type : Charm

Country : Tunisia
Locality : Douz
Origin of the species: Djerba

Cultural significance : Good luck charm

Availability : Endangered
Utility as a species : ?
Nature of Specimen : Wild

Collector : Hayshida Ken
Year of Purchase : 2008
Dimensions : 8cm x 10cm

Point of purchase : 50 USD
Prepared by : The shopkeeper
Type of area at point of purchase :

Spice and Sundry Shop

Information of object :

Dried chameleon loosely packed in a

polystyrene bag bought in a shop of

spices and sundries.

Inscription on object : -

===

Courtesy of the Museum of the Insitutute of Critical Zoologists. Currently I am working with the Institute of critical zoologists for their upcoming projects. Be sure to check back in 2 weeks.

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memorabilia

January 17th, 2008 pianist

 

from the series , ‘memorabilia ‘

Tunisia, December 2007. Halfway through the village market, a little boy shoved up towards us, peddling little trinkets. he was selling eye drops, or i thought. he stopped us in our paths and rolled out a red mat, disallowing us to move any further. i watched in interest as the locals started crowding around the little boy. he took out a white circular container. he placed the container on the mat, removed its cover and took a scorpion out of the container. he threw the scorpion on the ground several times to prove that it was dead. poured water on it and lighted a match and pressed it onto the scorpion, producing a scorching sound. the scorpion was dead, i believe him.

next, he took out the eye drop bottle. he dropped a tiny drop onto the scorpion, controlling with all his might to conserve as much of the liquid that was left in the bottle. to everyone’s amazement, the scorpion started stirring. it jerked into life. it moved, tailed raised and crawled towards the crowd. before he could gather enough momentum to get out of the crowd, the little boy dropped another drop of liquid on it and it stopped moving. it shriveled up slowly into a pathetic ball.

the magic eye drop potion was going for $10 dollars. i got the scorpion for $2.

i did not buy the bottle of eye drops.

=

these objects could mean different things to different people at different times.

its interesting how we fascinate animals, communicate through them, and project meaning onto them. these animals are chosen because they are uncertain objects, superficial, and somehow touch on some kind of symbolism. i am interested in the inherent instability of symbolism.

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