In the context where artistic production is read habitually towards the exhibition as final mode of presentation and consumption, browsing copy seeks to advance the artist’s book as an alternative site, to speculate about the possibilities around art premised on a different set of parameters.
browsing copy is set up comprising two layers:
1. A collaboration between two curators, a design studio, a printing press and eight invited artists — each of the artists have been asked to consider the interests and preoccupations of their artistic practice in relation to the book-form, culminating in the production of eight discrete artist’s books. Artists include Sookoon Ang, Chua Chye Teck, Nina Djekić, Koh Nguang How, Lai Yu Tong, Ryan Benjamin Lee, Susie Wong and Ian Woo.
2. A two-day programme that convenes artistic practitioners from Southeast Asia and beyond who have made active and innovative contributions in the field of artists’ books. Held on 8 and 9 June 2019, the aim of the programming is to create regional links and possibilities for collaboration and learning across these independent efforts. With the collaboration and programme, the project hopes to prompt the consideration of artistic production in an expanded field.
Project Facebook Page https://www.facebook.com/browsingcopy/
- Related Countries
- Japan, Singapore, Philippines, Indonesia, Thailand, Hong Kong, Jordan
From the Organizer
Holding the book launch with all the invited speakers introduced a global perspective to the significance and importance of the print medium vis-a-vis artistic production in many local contexts particularly those centred in Asia. The panel programme over two days saw sharing of methods, approaches and perspectives in both public and more conversational settings, facilitating exchange and resonance between the invited speaker and the participants.
More importantly, as the panel programme and book fair was attended by art and design students as well as art practitioners in Singapore, and was organised within a local printing facility, the programme also helped foster small-scale informal industries in Singapore that are currently not available or are unaware of each other’s interests and the possibilities that collaboration and partnership could offer.
We were commended with ‘Best New Booth’ at the Singapore Art Book Fair 2019.
Given the new friendships forged amongst the panelists, who have since involved each other in their own respective projects in Southeast Asia and beyond, and even creating artworks in response to one another since meeting in Singapore, we gather that the event was successful.
