✷ Sundry AiR: The Gift That Keeps on Giving (2023)
✷ I’m Exhausted, Where is He? (2022)
SELECTED GROUP EXHIBITIONS
✷ Lady Dior As Seen By (2024)
✷ Of placebos that sing sweet in the... (2024)
✷ Between The Lines (2024)
✷ ASEAN ON PAPER (2023)
✷ Serving Thots (2023)
✷ Diverse Visions (2023)
✷ Nature and Now: Asian Art in Focus (2023)
✷ There Are Flowers in the Morning Mist (2022)
✷ State of Play (2022)
✷ It’s my party and I’ll if I want to, you’ll... (2022)
✷ only losers left alive (love songs for... (2021)
✷ The Foot Beneath the Flower: Camp... (2020)
SERIES & CATEGORIES
✷ Untitled (Chocolate Boxes) (ongoing)
✷ Who Knew I’d Be the Stable One (ongoing)
✷ Untitled (Radial Sculptures) (ongoing)
✷ Installation
✷ Print & Drawing
✷ Text
It's my party and I'll cry if I want to, you would cry too if it happened to you
12 January–06 February 2022
The Projector
Singapore, Singapore
Curated by Louis Ho
Images Courtesy of Louis Ho & The Projector
Related Artworks
BRB, Powdering My Nose (Men’s & Women’s Room) (2022)
I Still Can’t Believe I Blamed Myself (2022)
Untitled (I Love You, But I Love Me More) (2022)
Another Year Wiser (2022)
12 January–06 February 2022
The Projector
Singapore, Singapore
Curated by Louis Ho
Images Courtesy of Louis Ho & The Projector
Related Artworks
BRB, Powdering My Nose (Men’s & Women’s Room) (2022)
I Still Can’t Believe I Blamed Myself (2022)
Untitled (I Love You, But I Love Me More) (2022)
Another Year Wiser (2022)
Description
Excerpt of Exhibition Catalogue by Curator Louis Ho:
"It's my party and I'll cry if I want to, you would cry too if it happened to you" is a project about unhappiness, or more specifically, affirmative unhappiness.
The collaboration between The Projector, Singapore’s foremost independent cinema theatre, and curator Louis Ho, is comprised of an exhibition of site-specific works located in The Projector’s Golden Mile space and a retrospective of Indonesian filmmaker, Kamila Andini. Works in the exhibition respond to the theme of affirmative unhappiness through the televisual medium, unhappiness being understood as feelings that do not serve the needs of dominant modes of contemporary life, simply because to be happy would be to accord with those ill-fitting frameworks.
In a pair of multi-component installations, Xun employs his characteristic sugary palettes and ornamented textures to activate the otherwise mundane environment of The Projector’s bathrooms, and as commentary on the melodrama and melancholy found in his favourite films and television programs. The colours and texture of his objects, from the synthetic textiles of heart-shaped soft sculptures to the embellishments adorning bejewelled urinal cakes, are references to specific scenes in “Desperate Housewives”, “Sex & the City” and “Please Like Me”, and “Happy Together” (1997) and “Shelter” (2007). These scenes are marked by personal setbacks for the characters involved, and the psychology of sadness is here filtered through the incongruity between the aesthetics and materiality of camp, and the multivalent significance of the public restroom (ranging from soilage to illicit sex.
Excerpt of Exhibition Catalogue by Curator Louis Ho:
"It's my party and I'll cry if I want to, you would cry too if it happened to you" is a project about unhappiness, or more specifically, affirmative unhappiness.
The collaboration between The Projector, Singapore’s foremost independent cinema theatre, and curator Louis Ho, is comprised of an exhibition of site-specific works located in The Projector’s Golden Mile space and a retrospective of Indonesian filmmaker, Kamila Andini. Works in the exhibition respond to the theme of affirmative unhappiness through the televisual medium, unhappiness being understood as feelings that do not serve the needs of dominant modes of contemporary life, simply because to be happy would be to accord with those ill-fitting frameworks.
In a pair of multi-component installations, Xun employs his characteristic sugary palettes and ornamented textures to activate the otherwise mundane environment of The Projector’s bathrooms, and as commentary on the melodrama and melancholy found in his favourite films and television programs. The colours and texture of his objects, from the synthetic textiles of heart-shaped soft sculptures to the embellishments adorning bejewelled urinal cakes, are references to specific scenes in “Desperate Housewives”, “Sex & the City” and “Please Like Me”, and “Happy Together” (1997) and “Shelter” (2007). These scenes are marked by personal setbacks for the characters involved, and the psychology of sadness is here filtered through the incongruity between the aesthetics and materiality of camp, and the multivalent significance of the public restroom (ranging from soilage to illicit sex.