EDUCATION KIT | ARTIST FOLIOS
JACK TAN
SINGAPORE / UNITED KINGDOM
Hearings, 2016
JACK TAN
Hearings, 2016
EDUCATION KIT
ARTIST FOLIOS
THE ARTIST
THE IDEA
Jack Tan (b. 1971, Singapore) makes work that explores
Tan’s practice brings art and law together to explore
the connections between the social, the legal and art.
‘legal aesthetics’. Hearings presents one part of his
Using social relations and cultural norms as material,
collaborative project with the Community Justice
he creates performances, sculptures, videos and
Centre (CJC). The project explores the experience of
participatory projects that highlight the rules – customs,
litigants-in-person 1 at the State and Family Courts of
rituals, habits and theories – that guide human behaviour.
Singapore. As an artist-in-residence at CJC and the
Prior to becoming an artist, Tan trained as a litigation
courts, Tan attended court proceedings, listened to the
lawyer and worked in human rights non-governmental
soundscape of the courts, paid attention to the use of
organisations. He then obtained a BA (Hons) in Ceramics
voice, and documented what he heard as drawings. The
at the University of Westminster, London, and an MA
artist turned his drawings into graphic scores 2, which
from the Royal College of Art, London. He is currently
were then interpreted and sung by the Anglo-Chinese
undertaking a PhD in Legal Aesthetics at the University
Junior College Alumni Choir. Tan’s work eavesdrops
of Roehampton, London.
into the otherwise private space of legal proceedings,
while exploring the voices of people who have no legal
professionals to represent them during litigation.
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litigants-in-person: an individual or organisation that is not
represented in court by a lawyer
2
Graphic scores: representation of music through the use of
visual symbols
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JACK TAN
Hearings, 2016
THE ARTWORK
Textile hangings with audio recordings (set of 8)
(27 to 29 Oct 2016, 2pm) or ‘live’ performances
(29 Oct 2016, 2pm, 3pm and 4pm) at Chamber,
The Arts House; bound manuscripts, music stands and
speakers with audio recordings (set of 8) at SAM at 8Q
(27 Oct 2016 to 26 Feb 2017)
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Hangings 150 × 120 cm each;
manuscripts 25 × 17.6/25 cm × various widths
ARTIST FOLIOS
(closed/opened dimensions, each); recordings various
durations 1:04–3:59 mins; ‘live’ performances total
duration approx. 17:00 mins each
Collection of the Artist
Image courtesy of Singapore Art Museum
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OBSERVE AND DISCOVER
GUIDING QUESTIONS
SUGGESTED ACTIVITIES
1. Look at the work and observe what you see around
A. Tan is a legal-trained artist. He is trying to create
you. Does it remind you of something? How would
‘legal aesthetics’ by bringing together art practice
you describe the work to someone on the phone?
and law practice. Observe the different materials
What words would you use?
used in Tan’s work to translate the meaning of
‘legal aesthetics’, such as his drawings and audio
JACK TAN
Hearings, 2016
2. Try and use other senses alongside your sight. Listen
recordings. Do you agree or disagree that what the
carefully to the sounds. What do you hear? Does the
artist is doing is exploring ‘legal aesthetics’? Explain
talking and singing remind you of anything? What
and discuss your position.
do you think is happening?
B.As an artist-in-residence, Tan attended court
3. After listening and observing the different parts of
proceedings, listened to the soundscape of the courts,
the artwork, why do you think the artwork is titled
paid attention to the use of voice, and documented
Hearings? What is it a reflection of?
what he heard as drawings. Work in small groups and
explore different sound locations in Singapore. Use
4. Tan makes work that explores the connection
your phone or a recording device to record what you
between the social, the legal and art. With this work
can hear. Locations could include a busy shopping
the artist is trying to give litigants a voice. Do you
mall, a wet market, an MRT station, etc. Take turns to
feel the artist has succeeded in doing so? Why or
listen to the sound recordings and to interpret what
why not?
you can hear as drawings and graphic scores.
5. What do you think is worth remembering about
What feelings do the drawings of the sounds evoke?
the work?
C.Compare Hearings to SONICreflection by Zulkifle
Mahmod. What are some of the similarities and
differences you can find in terms of the artwork and
the artists’ intentions?
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FIND OUT MORE
UP CLOSE AND PERSONAL
INTERVIEW
Jack Tan. Retrieved October 31, 2016, from
the Artling. Singapore Arts Club: Interview with Jack Tan.
http://www.jacktan.net
Retrieved October 31, 2016, from https://theartling.com/
artzine/2016/01/18/singapore-arts-club-series-interview-
ARTWORKS
JACK TAN
Hearings, 2016
Lasalle College of the Arts. Jack Tan: How to Do
jack-tan
VIDEO
Things with Rules. Retrieved October 31, 2016, from
http://www.lasalle.edu.sg/events/jack-tan-how-to-do-
Vimeo. Singapore Arts Club// Jack Tan// Mythologies.
things-with-rules
Retrieved October 31, 2016, from
https://vimeo.com/156544929
Behance. Jack Tan, Karaoke Court, Lasalle ICA.
Retrieved October 31, 2016, from
YouTube. Karaoke Court: Interview with Artist Jack Tan.
https://www.behance.net/gallery/29475207/Jack-Tan-
Retrieved October 31, 2016, from
Karaoke-Court-Lasalle-ICA
https://youtu.be/4s1yYLFPfkM
YouTube. Jack Tan ReachOutRCA Interview.
Retrieved October 31, 2016, from
https://youtu.be/hwKTpdZVaD4
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ABOUT SINGAPORE BIENNALE 2016
AN ATLAS OF MIRRORS
AT ONCE, MANY WORLDS
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ARTIST FOLIOS
FROM WHERE WE ARE,
HOW DO WE PICTURE THE WORLD ­—
AND OURSELVES?
Humankind has always devised ways of seeing
beyond sight. Two such instruments are the map
and the mirror, which make visible more than
just physical terrains. While the atlas – a book of
maps – locates where we are and charts where
we want to go, the mirror shows us to ourselves,
sometimes unreliably, and in curious ways.
Through an exploration of the literal and
metaphorical characteristics of atlas and mirror,
An Atlas of Mirrors reveals artistic perspectives
that arise from our migratory, intertwining
histories and cultures, particularly in Southeast,
East and South Asia.
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ABOUT THE ZONES
NINE
CONCEPTUAL
ZONES
The main title of the Biennale is woven through nine
• AGENCY & THE LIMITS OF REPRESENTATION
‘conceptual zones’, or subthemes, which locate each
• SITES & VOICES OF RESISTANCE
artwork in particular curatorial contexts. These zones
• SELF & OTHER
shape the flow of the Biennale experience, like chapters
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ARTIST FOLIOS
in a book or sections in a poem. Like the title – ‘An Atlas
Against the odds, Davids frequently battle Goliaths,
of Mirrors’ – which is built on the relationship between
but not all Davids survive. Nonetheless, the evolving
a collective noun (“an atlas” as the collective noun) and
roles and forms of art enable the conscience-plagued
what is being thought of ‘collectively’ (“mirrors”), these
to take a deep breath and hold fast to ideals. Carved
zones are conceptually themed along specific collective
‘prison soap’ bars mosaic the map of Myanmar on
nouns and what they hold together for contemplation
a dark floor; forgotten Indian convict labourers in
and experience. Artworks located within each zone
Singapore from over a century ago are pledged a walk-
resonate on many levels, and at the same time, all nine
performance in their honour; and precious space is
zones coincide, intertwine and reflect each other along
shaped for discourse on the world today at a Malaysian
the conceptual continuum of ‘An Atlas of Mirrors’ as
artist-made-and-run ‘café’.
a whole.
Encountering injustice, selves resist, sometimes acting
Each zone represents concepts, ideas and ways of seeing
on behalf of others, often at personal costs; yet the
as explored in the 58 artworks and projects.
silenced, in finding their voice and agency, also face the
limits of representation.
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All works are © the artists unless otherwise stated. Information correct at the time of publication. All rights reserved.
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