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Fri 15 Jun 2018, 10:30am–4:30pm
Sat 16 Jun 2018, 10:30am–4:30pm
Sun 17 Jun 2018, 10:30am–4:30pm
Mon 18 Jun 2018, 10:30am–4:30pm
Tue 19 Jun 2018, 10:30am–4:30pm

Where: Silo 6, Corner of Jellicoe and Beaumont Street, CBD, Auckland

Restrictions: All Ages

Ticket Information:

  • Admission: Free

Curated by Gwen Lee. Exhibiting artists include Jabob Burge, Woong Soak Teng, Esther Hovers, Hou I-Ting, Chen Yan Cheng.

Not long after the invention of photography, photographs were used as evidence in court. The inherent nature of photography to capture what is before the camera has without doubt instilled a sense of definite hard truth, yet ambiguities besiege the realities behind these images.

Fast forward to the 21st century with the technology advancement of the internet and its social media platforms, the rampant presence of photography has invaded both the private and public domains, leaving behind more questions than ever. In response, the work of 5 photographers navigates the festival theme of Control.

As a military service man on guard duty at sea, Chen Yan Cheng’s Days at the Sea reminds us of the fundamentals of seeing. The eyes naturally control, compensate and adjust to conjure images in the mind’s eye. Yan’s process further shapes the conjured images that are shrouded in darkness, which gives away little information at first glance. The desire to control seems like an inherent nature in man as observed by Woong Soak Teng’s Ways to Tie Trees.

Singapore’s green efforts to maintain the garden-cityscape has led to the planting of thousands of young trees tied in various ways. A dialectic exploration continues in Hou I-Ting’s Sewing Fields, where she reads into historical images of a girls’ school ran by the Japanese during the occupation of Taiwan.

The teaching of embroidery was as essential education, to control and assimilate women into the ideal role, as deemed correct by the Japanese colonisers. From the medium of messages, the utilitarian function of photography takes on the form of surveillance, raising questions on security, privacy and freedom, as shown by Jacob Burge’s Face Off and Esther Hovers’ False Positives.

The unceasing presence of surveillance, aided by digitalization and satellites, propels questions about power underlying all forms of control, often belying the fact that control starts with one in power, administrating action on others.

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