Centre 42 » The Vault: #3.2 For The Time Being https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 The Vault: #3.2 For The Time Being https://centre42.sg/the-vault-3-2-for-the-time-being/ https://centre42.sg/the-vault-3-2-for-the-time-being/#comments Mon, 23 Apr 2018 06:45:56 +0000 http://centre42.sg/?p=9650

In response to Quah Sy Ren’s “Invisibility”, sound artist Darren Ng presents a thought-provoking aural experience of melting ice. In an installation piece augmenting the sound of ice as it transitions between states, the work highlights the restlessness of the ephemeral and liminal state of “now” and the meaninglessness and futility of living in the present. This is a summary video featuring highlights from the installation.
SynopsisThe PlayThe ArtistReflectionsResourcesVideo

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The second of the series, #3.2 For The Time Being is an intimate sound installation in response to selected themes from the play Invisibility by Quah Sy Ren.

It takes an approximate 80 milliseconds for our brain to process all the relevant sensory input from our perceptions, before it experiences the “now”. As such, we are constantly living in the past, an 80 milliseconds of liminal disjuncture.

Set as a quiet transitional experience, the sound installation highlights the restlessness of this ephemeral and liminal state of “now”; and the meaninglessness and futility of living in the present. For The Time Being hopes to accentuate the dichotomy of being and nothingness by augmenting the sound of ice melting as a way to alienate and/or heighten meanings from our perceptions.

Visitors will engage in this discreet and metaphysical conversation brought about by chance, as a matter transits from one state to the other in time and space. 

In this series of three installations, the focus is brought to a theatre designer’s response to text. In the absence of a prescribed directorial vision, design collective INDEX connects directly with the play, interprets its narrative and re-imagines it using their specialized language of design.

Read more about the first of this series, #3.1 In/Visibility by lighting designer Lim Woan Wen, here.
Read more about the third of this series, #3.3 scale 1:333333.333… by spatial designer Lim Weilinghere.

REGISTRATION

22 – 25 July 2015
5.00pm – 9.00pm (Wed – Fri)
3.00pm – 7.00pm (Sat)
*last admission 20min before closing time
@ Centre 42 Black Box
Limited capacity for each show | Admission is free.

CLICK HERE TO REGISTER

About the Playwright
“Invisibility” was written by Quah Sy Ren and was first staged (in Mandarin) by The Necessary Stage in 1996. The mandarin play was translated into English by Sim Pern Yiau. A browsing copy of the published play is available in Centre 42’s Book Den. View it here.

Playwright Quah Sy Ren is an associate professor in the School of Humanities and Social Sciences, Chinese division at Nanyang Technical University. His main research interests are in Chinese Literature and the history of Singapore Theatre. Quah also sits on the board of directors for Practice Performing Arts Centre and The Finger Players. In addition to Invisibility (1996), Quah has also authored other plays as well as written and edited several books.

INDEX
INDEX is a design collective winged under The Finger Players, comprising of spatial designer Lim Wei Ling, lighting designer Lim Woan Wen and sound artist/music composer Darren Ng. Finding common grounds in quiet aesthetics and subtractive work ethos, the collective focuses on design-centric installations and performances, using space, light and sound to weave meanings and narratives. While the three designers have been working together for a substantial number of years, the collective was kick-started in May 2013 with the performance installation IN:dex, presented under The Studio’s R.A.W series at the Esplanade Theatre Studio.

As a collective that focuses on design-centric installations and performances, INDEX is primarily interested in exploring the possibilities and potential of creating narratives using the elements of space, light and sound. In their third collaboration The Vault: #3 three, the three artists seek to experiment and further expand their vocabulary through developing a series of three entirely separate showcases based on one chosen script.

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By Darren Ng

During the months of conceptualising “For the Time Being”, I had various ideas in response to the script “Invisibility” by Dr. Quah Sy Ren. The filtering process, which ultimately ended up with the use of ice, was one that came about rather naturally – I wanted something that was seemingly simple (in presentation) while staying true to the responses I had for the script (themes), yet allowing room for the visitors to have their own responses and interpretations.

Some of the difficulties I faced were during the research and development process, when a lot of experiments were with the ice and its container (vessel). I initially wanted to use glass containers, which made the ice more visible and aesthetically more pleasing. However, under immense pressure from the contractions and expansions of the freezing process, various attempts with different glass containers resulted either in cracked containers or shattering glass upon freezing.

This was disheartening in the earlier process and I went on to plastic containers. Much to my dismay, they too cracked during the freezing process. I finally found the right container with the appropriate softness necessary to withhold the pressure, as seen in the installation. They were not perfect but they were the right ones.

This, in retrospect, is interesting as the idea of a vessel, or selecting the right vessel, does seem like a necessary process or ritual, to house the transition of a matter. We have expectations of ourselves, our body being the vessel, housing our transitions. Often, it is not what is good or perfect, but what is necessary and appropriate, giving the right conditions in facilitating the transition.

Not having control over the production of sounds in this installation was an interesting experience for me. I had no way of ensuring the sounds I heard during my research period would be reproduced faithfully again during the installation. Likewise, I had no way of reproducing the same sound each day during the sound installation period, due to various factors that affected the freezing and melting of ice. I became a participant as well, a keen observer, as I quietly took a seat on the receiving end – helpless and curious, I could only wait in anticipation.

“I became a participant as well, a keen observer, as I quietly took a seat on the receiving end – helpless and curious, I could only wait in anticipation.”

This in turn gave me an insight into “Invisibility” again as I was able to react, respond and read more into the piece (now with visitors in the picture as part of the composite) and making new links to the script, characters and themes. It was an unexpected dialogue, and it taught me more things than I had first assumed.

Speaking of dialogue, one of my greatest rewards was to be able to hear the different responses from visitors and the personal and beautiful discourses during many private feedback sessions I had with them. They had their own take on the notion of invisibility, of being, of nothingness, on the familiar, the unfamiliar and the in-between. Some concocted images or physicalised the sounds; some pegged the sounds and associated them with familiar sounds they were reminded of. They shared with me stories, emotions, reasoning and their intellectual readings. They questioned me, offered alternatives and challenged the concept and/or script further and extended it to life.

All these informed me more about the piece and their possible readings and taught me more about living and transiting. I had intended for this to happen, but the extent of it way surpassed my expectations. For that, I am most grateful.

I can create a piece, whereby I am the dictator of meanings, or I can just let the piece take its own course and narratives, so that it becomes something bigger than one person. I chose the latter and it had been most rewarding.

#3.2 For The Time Being (Summary)

In response to Quah Sy Ren’s “Invisibility”, sound artist Darren Ng presents a thought-provoking aural experience of melting ice. In an installation piece augmenting the sound of ice as it transitions between states, the work highlights the restlessness of the ephemeral and liminal state of “now” and the meaninglessness and futility of living in the present. This is a summary video featuring highlights from the installation.

#3.2 For The Time Being (Extended)

Sound artist Darren Ng presents a thought-provoking aural experience of melting ice. In an installation piece augmenting the sound of ice as it transitions between states, the work highlights the restlessness of the ephemeral and liminal state of “now” and the meaninglessness and futility of living in the present.

Vault Event Logo

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The Vault: #3 three
 revisits Invisibilityrefreshes and retells the stories in them through the eyes of theatre design collective INDEX. #3.2 For The Time Being by sound artist Darren Ng is the second of three installations.

 

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Video: The Vault: #3.2 For The Time Being https://centre42.sg/video-the-vault-3-2-for-the-time-being/ https://centre42.sg/video-the-vault-3-2-for-the-time-being/#comments Tue, 29 Dec 2015 05:15:09 +0000 http://centre42.sg/?p=4302 The Vault: #3.2 For The Time Being was presented from 22 – 25 July 2015.

Sound artist Darren Ng presents a thought-provoking aural experience of melting ice. In an installation piece augmenting the sound of ice as it transitions between states, the work highlights the restlessness of the ephemeral and liminal state of “now” and the meaninglessness and futility of living in the present.

For four hours each day, visitors enter this installation of transition and immerse in the soundscape it creates.

This documentation video contains highlights from the installation set against a soundtrack created by Darren.

This extended version contains more footage from the installation and the unadulterated sounds of ice melting.

 

 

Vault Event Logo

The Vault: #3 three revisits Invisibility, refreshes and retells the stories in them through the eyes of theatre design collective INDEX. #3.2 For The Time Being by sound artist Darren Ng is the second of three installations.

Access the full suite of materials about #3.2 For The Time Being here.

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Reflections on The Vault: #3 three https://centre42.sg/va-3-three-reflections/ https://centre42.sg/va-3-three-reflections/#comments Fri, 25 Sep 2015 08:50:54 +0000 http://centre42.sg/?p=3390

The Vault: #3 three revisits Quah Sy Ren’s Invisibility through the eyes of theatre design collective INDEX. We asked the three INDEX designers to reflect on the conceptualisation and development of their works in this design-centred series. A short summary video of the respective installation accompanies each designers’ reflections.
More on The Vault: #3 three series here.

| Reflections on #3.1 In/Visibility | Reflections on #3.2 For the Time Being | Reflections on #3.3 scale 1.333 333.333… |

invisbanner

May 21 – 23, 2015
THE VAULT: #3.1 IN/VISIBILITY
By Lim Woan Wen

Exploring and making performed installations in which performance venues are engaged as-the-rooms-that-they-are in conversations with light has been a distinct thread in my work. As an extension of this journey, In/Visibility was set out to be an exercise to challenge myself – to see what the possibilities are when a third element is introduced as an anchor and how this would influence the choices I make.

The process of devising methods of translating text into visual vocabularies and drawing up new parameters was much of a struggle, but the exercise proved to be a worthy experiment.

It was particularly interesting to experience the tension between what the space was telling me to do versus where the planned sequence was headed during the first trial in the venue. At certain points, my instinctive response to the room called for light states that were markedly different from the ones determined by the structure of the play or the appearance of a particular character. A conscious decision was made to stick to the latter, and the derived light narrative turned out evidently different.

“The process of devising methods of translating text into visual vocabularies and drawing up new parameters was much of a struggle, but the exercise proved to be a worthy experiment.”

My motivations and internal dialogues during performance were very different as well. Instead of reacting and connecting directly with the space and let it tell its own story, I ran the skeleton of the “external” story of the play in my head and superimposed it on the Centre 42 Black Box through the performance, and also attempted to use aspects of the script to motivate and affect the rhythm and pacing of my playing of faders on the lighting control board.

The introduction of this third element of text also appeared to have had a substantial effect on audience’s response. In contrast to previous pieces, the reactions and feedback were considerably diverse and more complex, providing much food for thought.

– Lim Woan Wen

More details and resources on In/Visibility are available here.
^Back to top

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July 22 – 24, 2015
THE VAULT: #3.2 FOR THE TIME BEING
By Darren Ng

During the months of conceptualising “For the Time Being”, I had various ideas in response to the script “Invisibility” by Dr. Quah Sy Ren. The filtering process, which ultimately ended up with the use of ice, was one that came about rather naturally – I wanted something that was seemingly simple (in presentation) while staying true to the responses I had for the script (themes), yet allowing room for the visitors to have their own responses and interpretations.

Some of the difficulties I faced were during the research and development process, when a lot of experiments were with the ice and its container (vessel). I initially wanted to use glass containers, which made the ice more visible and aesthetically more pleasing. However, under immense pressure from the contractions and expansions of the freezing process, various attempts with different glass containers resulted either in cracked containers or shattering glass upon freezing.

This was disheartening in the earlier process and I went on to plastic containers. Much to my dismay, they too cracked during the freezing process. I finally found the right container with the appropriate softness necessary to withhold the pressure, as seen in the installation. They were not perfect but they were the right ones.

This, in retrospect, is interesting as the idea of a vessel, or selecting the right vessel, does seem like a necessary process or ritual, to house the transition of a matter. We have expectations of ourselves, our body being the vessel, housing our transitions. Often, it is not what is good or perfect, but what is necessary and appropriate, giving the right conditions in facilitating the transition.

Not having control over the production of sounds in this installation was an interesting experience for me. I had no way of ensuring the sounds I heard during my research period would be reproduced faithfully again during the installation. Likewise, I had no way of reproducing the same sound each day during the sound installation period, due to various factors that affected the freezing and melting of ice. I became a participant as well, a keen observer, as I quietly took a seat on the receiving end – helpless and curious, I could only wait in anticipation.

“I became a participant as well, a keen observer, as I quietly took a seat on the receiving end – helpless and curious, I could only wait in anticipation.”

This in turn gave me an insight into “Invisibility” again as I was able to react, respond and read more into the piece (now with visitors in the picture as part of the composite) and making new links to the script, characters and themes. It was an unexpected dialogue, and it taught me more things than I had first assumed.

Speaking of dialogue, one of my greatest rewards was to be able to hear the different responses from visitors and the personal and beautiful discourses during many private feedback sessions I had with them. They had their own take on the notion of invisibility, of being, of nothingness, on the familiar, the unfamiliar and the in-between. Some concocted images or physicalised the sounds; some pegged the sounds and associated them with familiar sounds they were reminded of. They shared with me stories, emotions, reasoning and their intellectual readings. They questioned me, offered alternatives and challenged the concept and/or script further and extended it to life.

All these informed me more about the piece and their possible readings and taught me more about living and transiting. I had intended for this to happen, but the extent of it way surpassed my expectations. For that, I am most grateful.

I can create a piece, whereby I am the dictator of meanings, or I can just let the piece take its own course and narratives, so that it becomes something bigger than one person. I chose the latter and it had been most rewarding.

– Darren Ng

More details and resources on For the Time Being are available here.
^Back to top

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September 30 – October 3, 2015
THE VAULT: #3.3 scale 1:333 333.333…
By Lim Wei Ling

If you attended any of The Vault: #3 three installations and would like to share your thoughts and/or personal reflections with us, please send us an email at info@centre42.sg. We would love to hear from you!

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INVISIBILITY and Language https://centre42.sg/invisibility-and-language/ https://centre42.sg/invisibility-and-language/#comments Tue, 21 Jul 2015 02:22:05 +0000 http://centre42.sg/?p=3127 Quah Sy Ren first wrote Invisibility in Chinese in 1996 and it was translated into English by Sim Pern Yiau in 2000.

In the translation to English, some meaning from the original Chinese text is inevitably lost, or becomes invisible to English readers.

For example, when A quotes from ancient Chinese text, the English translation is unable to emulate its rhythm and tone, and even loses some information.

Excerpt from Invisibility (page 44-45):

A翻找另一本古书(《包朴子》)。

A:            郑君云: 服大隐符十日、 欲隐则左转, 欲见则右回……欲隐则左转……欲见则右回……欲隐贝吐左转 (左转) ……欲见则右回 (右转)……

A:            (reads from another book) “Gentlemen Zheng says: Take the magic water for ten days…left turn to disappear, right turn to be seen”.

Note that the title of the book is not given an English equivalent. Also, perhaps at the expense of grammar, the chanting quality of Zheng’s words does not make the transition across languages.

The same loss can be seen in the translation of Singaporean Chinese as well. The kind of Chinese spoken by Singaporeans in the play is less formal and more slangy, often interspersed with English and Singlish terms. For example:

Excerpt from Invisibility (page 44-45):

A:            好像advertisement的话hor。

A:            Sounds like an advertisement, doesn’t it.

The English translation is formal and grammatically correct, in sharp contrast to the highly colloquial, patchwork quality of the Chinese source text.

Some meaning is invariably lost when translating from one language to another. But perhaps even more is lost when a language is spoken by fewer and fewer people. In Invisibility, the character ‘A’ appears to have received a formal Chinese education because he often refers to ancient Chinese history and Chinese historical texts. He is also obsessed with becoming invisible.

Faced with the growing power of English, what can a Mandarin-speaking Singaporean do? In Quah Sy Ren’s “Invisibility”, we watch a well-educated Mandarin speaker answer this question by trying to disappear.
Source: Revealing the invisible: Heterolingualism in three generations of Singaporean playwrights by James St. André)

A’s quest to seek out invisibility through the wisdom of an ancient Chinese master has already set him apart from the other characters in the play. The character ‘A’ alludes to how a Chinese speaker can become invisible in an English-dominated landscape.

According to a 2010 census reported that about 1 in 3 Chinese residents speak English most frequently at home – this is a marked increase from the year 1990, when just 1 in 5 Chinese residents spoke English most frequently at home. In comparison, the proportion of Chinese residents who spoke Mandarin most frequently at home remained relatively consistent at around 46% between 2000 and 2010.

The meteoric rise of the English language set off fears of cultural erosion among the Chinese populace. The Speak Mandarin Campaign, originally conceived in the 1980s to encourage the adoption of Mandarin as a common mother tongue over other Chinese dialects, had to reset its sights since the 1990s on younger Chinese Singaporeans who were speaking English far more than Mandarin or any other Chinese dialects.

Values and language cannot be easily separated. They are intrinsically linked to each other. Values get into our minds and hearts through folklore. For the Chinese these stories and beliefs are preserved in their literature or passed on by word of mouth… A Chinese Singaporean who does not know Chinese – either Mandarin or dialect – runs the risk of losing the collective wisdom of the Chinese civilization.
Source: Mr. Goh Chok Tong’s speech at the 1991 Speak Mandarin Campaign launch

However, the real losers of the language arms race in Singapore appears to be the Chinese dialects. The proportion of Chinese residents who speak Chinese dialects most frequently at home has fallen from about 50% in 1990 to less than 20% in 2010. Chinese dialects are certainly becoming an invisible language in Singapore.

What language do you use to communicate with your family, friends, or colleagues?

 

By Daniel Teo
Published on 21 July 2015

 

Vault Event Logo

The Vault: #3 three revisits Invisibility, refreshes and retells the stories in them through the eyes of theatre design collective INDEX. #3.2 For The Time Being by sound artist Darren Ng is the second of three installations.

Find out more about The Vault programme here.

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INVISIBILITY and Existence https://centre42.sg/invisibility-and-existence/ https://centre42.sg/invisibility-and-existence/#comments Thu, 16 Jul 2015 02:54:38 +0000 http://centre42.sg/?p=3096 One of the big concepts Invisibility tackles is existence. Questions about the nature of existence fall under a branch of science known as ontology.

Scene 1 opens with the characters B, C and D debating the nature of A’s existence. A’s name is just ‘A’ – he does not have a ‘proper’ name, which puzzles the characters. He also does not have a job.

But A still exists – there has to be something else to A’s existence other than a name and a job.

Excerpt from Invisibility (page 10):

C:            Then how is [A] going to act the role? No name and no background.

D:            Just act A lor!

At the heart of A’s existence is some form of ‘A-ness’ which makes A, ‘A’. In the play, A’s ‘A-ness’ is defined by his pursuit of invisibility. And therein lies one of the big questions Invisibility asks: If you’re invisible, do you exist?

If your answer is no…

…then your existence is based on other people’s perception of you. You exist because others acknowledge your being.

In this frame of mind, it becomes important how people see us. Think of the clothes you choose to wear – what sort of image are you projecting to others? What are you without your clothes? (Other than naked, of course.)

Excerpt from Invisibility (page 26):

A takes off his top.

D:            Eh, really, I can’t see your top now! (to audience) Right? Can’t see right? (to A) Take off your pants!

A:            Okay! (A does so)

D:            Woa! Can only see your underwear! ARMANI somemore! Take off your underwear, then you’ll be totally invisible!

Excerpt from Invisibility (page 32):

D:            A enjoys even more the feel of having his hair washed. It’s a soothing sensation. When the barber massages his scalp, he can feel the tensions in his body ease away. The feeling of being touched – it feels good.

People can also touch you. Hear you. Smell you. Maybe even taste you (!). Your existence is based on how others sense you.

But can senses be trusted?

And if senses are not completely reliable, how can we be absolutely sure of our existence? Read on…

 

If your answer is yes…

…you think that you exist, and even if no one else does, you still know that you do.

In this frame of mind, your existence is defined by your thoughts, independent of what anyone else perceives of you.

Excerpt from Invisibility (page 64):

A:            Whenever I’m alone I’d be thinking, and since I’m alone a lot I think a lot.

The concept of a thinking existence was theorised by 17th-century philosopher Renee Descartes. It is encapsulated in his famous statement cogito ergo sum: I think therefore I am. To Descartes, doubting your existence is actually proof that you exist because you thought it.

A person’s thoughts thus become the defining characteristic of one’s existence, independent of sensory perception. In this way, you can be invisible, but still exist.

No character embodies the concept of an invisible existence better than the invisible Hermit Master whom A aspires to.

Excerpt from Invisibility (page 60):

A:            At that point [the Hermit Master] thought of a particular friend. So off he went in a boat, to visit him. But when he arrived at his friend’s place, he didn’t go in. Instead he turned his boat around and went home. When asked why, he said: “When I felt like going I went, and having arrived, my wish was fulfilled. Is it necessary for me to see him?

The Hermit Master exists because he thinks – that is all. There is no need for him to be seen or heard by others.

Excerpt from Invisibility (page 46):

Master:                (in old Chinese) Irreconcilable, this world and I. Speak I what more? And what for?

How do you know you exist? What clues do you rely on to inform you of your existence?

 

By Daniel Teo
Published on 16 July 2015

 

Vault Event Logo

The Vault: #3 three revisits Invisibility, refreshes and retells the stories in them through the eyes of theatre design collective INDEX. #3.2 For The Time Being by sound artist Darren Ng is the second of three installations.

Find out more about The Vault programme here.

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FOR THE TIME BEING artist: Darren Ng https://centre42.sg/for-the-time-being-artist-darren-ng/ https://centre42.sg/for-the-time-being-artist-darren-ng/#comments Wed, 15 Jul 2015 00:40:39 +0000 http://centre42.sg/?p=3081 Sound artist Darren Ng
“Do what you can, what you love and what you believe in. Don’t do it otherwise.”

– Darren Ng on receiving the Young Artist Award in 2012

Darren's pic

Sound artist Darren Ng’s repertoire is hugely diverse. From solo piano pieces to experimental works which fuse sounds from wildly different sources, Darren’s unique compositions are always intriguing, sensitive and highly emotive.

In a prolific career spanning 16 years, Darren has sound-designed and composed music for over 150 productions including stage, dance, film, installations and exhibitions. Since 2004, he has been Associate Sound Artist and Music Composer for The Finger Players, and also works independently and as part of the light-sound-spatial design trio INDEX.

Darren is also an acoustic ambient music composer, recording music under the stage name “sonicbrat” with independent studio Kitchen. Label. He has released more than 10 albums and has performed in numerous prestigious international music and arts festivals across Europe and Asia such as Wiener Feswochen (Vienna, Austria) and SONAR (Barcelona, Spain), to name a few. He was also selected to participate in the Redbull Music Academy in 2008 and has been an alumni since.

Darren is a multiple winner and nominee of the Straits Times Life! Theatre Award for Best Sound, and also a recipient of the National Arts Council’s Young Artist Award for Music and Multidisciplinary Practice in 2012. He was also named JUICE Magazine’s Best Laptop Artist twice.

 

Bitesize interview with Centre 42 (20 July 2015)

Darren shares what sound means to him and the process of working on his latest work with the Centre The Vault: #3.2 For The Time Being.

[See image gallery at centre42.sg]

Selected works

  • View the trailer of The Book of Living and Dying (2013), produced by The Finger Players. Darren was sound designer and music composer for the production and played live for the performance. An extract of the theme song is featured in this trailer; you can listen to it in full here.

 

  •  “Örkin hans Nóa” (“Noah’s Ark”), another of Darren’s pieces for The Book Of Living and Dying.
[soundcloud url=”https://api.soundcloud.com/tracks/49654005″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]

 

  • Piano theme sketch composed for Everything But The Brain (2013) by Sightlines Productions.
[soundcloud url=”https://api.soundcloud.com/tracks/102454451″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]

 

“I like listening to a space, as it defines and characterises our reality. There is a déjà vu quality to sounds as they weave in between the conscious and the subconscious. […] To me, sound is the materialization of negative space, which is the space we are listening to, divided as such.”
(Source: SOUND – Latitudes and Attitudes, Institute of Contemporary Arts Singapore, 2014)

 

A sample of recent projects

2015 The Vault: #3.2 For the Time Being
By Centre 42
2015 The Struggle: Years Later
By The Theatre Practice
2015 Off Centre
By The Finger Players
The published play is available for browsing in Book Den.
2015 Public Enemy
By W!ld Rice
2014 Poems about Chaos – In collaboration with Bani Haykal
By Esplanade Presents
2014 Tangible Oeuvre Tacet: Friction
(Sound installation, Exhibition; part of Sound – Latitudes and Attitudes)
By Institute of Contemporary Arts Singapore
2014 Art
By Nine Years Theatre
2013 Twelve Angry Men
By Nine Years Theatre
2013 Both Sides, Now – Entrances & Exits
(Sound Installation, Exhibition)
By Drama Box
2013 Digital Fashion Week 2013
2012 The Book of Living and Dying
By The Finger Players
Information about this production is available in The Repository.
The published play is available for browsing in Book Den.
2012 Afar
By Drama Box
2012 Freud’s Last Session
By Blank Space Theatre
2012 Turn By Turn We Turn
By The Finger Players

For a complete list of Darren’s work, please check out his website.

By Daniel Teo
Published on 15 Jul 2015

 

Vault Event Logo

The Vault: #3 three revisits Invisibility, refreshes and retells the stories in them through the eyes of theatre design collective INDEX. #3.2 For The Time Being by sound artist Darren Ng is the second of three installations.

Find out more about The Vault programme here.

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