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W. Lee (2004)
Authenticity, Reflexivity, and Spectacle; or, The Rise of New Asia Is Not the End of the Worldpositions: east asia cultures critique, 12
(2015)
Daniela Beltrani,” Future of Imagination 9,
(2015)
Durational performance, Durational Work, and the pleonasm: Long Duration,
David Williams (2009)
Out of Now: The Lifeworks of Tehching HsiehPerformance Research, 14
ART & PERFORMANCE NOTES Pavel Braila, The Golden Snow of Sochi, 2014. Photo: Courtesy Zagidullin Rustam. © Manifesta 10, St. Petersburg, Russia. Performing Singapore Jennie Klein The Future of Imagination (FOI) Festival 9, Singapore, September 4â7, 2014. S ingapore is a city/state in flux, an island nation in Southeast Asia that has transformed itself from a former British trading post for the East India Company upon its independence in 1963 into one of the worldâs major commercial hubs. A city/nation of skyscrapers and shopping malls that is perpetually under construction, Singapore has sought to transform itself into a tourist destination by supporting contemporary art and artists. This support comes with a price, however, as the National Arts Council encourages organizers, curators, and artists to produce exhibitions and events that have a broad appeal to the general public. My focus here is the role of the community of artists and audience members vis-à -vis the annual performance festival Future of the Imagination (FOI). Under the artistic direction of Lee Wen, Kai Lam, and Jason Lim, FOI, which premiered in 2003, has remained an alternative event for a small international community of artists and audience members committed to avant-garde performance
PAJ: A Journal of Performance and Art – MIT Press
Published: Jan 1, 2016
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