Grey Projects

2010

Vertical Submarine

 

(click on the bottom-right to access higher-res image, press Ctrl + for further enlargements)

 

Grey Projects presents
The Garden of Forking Parths
by Vertical Submarine

 

This project is inspired by a fictitious character in Jorge Luis Borges’s The Garden of Forking Paths: Tsui Pen, the reclusive Qing dynasty writer of an infinite novel and architect of a garden labyrinth.

In this Borgesque installation, vertical submarine converts the exhibition space into a labyrinthine tunnel of mirrored reality and diverse possibilities where everyday items and familiar experiences are estranged. 

Given the structure of the installation, we are limiting the number of visitors in the space at any one time. Please call or write ahead to fix your time in the labyrinth.

 

Opening on 5th May 2010, 7pm
at Grey Projects Zion Rd

Exhibition runs from 6 to 30 May 2010
Wed to Sun, 3 - 7pm.

Call 68369500 or write in on this website.

Nearest  MRT stations:
Orchard, Outram Part or Tiong Bahru

Buses: 5, 14, 16, 65, 175, 195, 970.

Parking available on Zion Close and at Great World City.

 

Grieve Perspective

 

Grieve Perspective

opening on 19th April 2010, 7pm

20 to 28 April 2010
Grey Projects Temporary Annexe
47 Niven Road (off Selegie Road)

closest MRT stations:
Douby Ghaut, Little India and Bugis

 

 

 

 

Closing Party for Li Cassidy-Peet

It's the final weekend to see the exhibition at Substation. Come by for drinks and a chat with the artist!

 

Time:6:00PM Saturday, March 6th
Location:The Substation, 40 Armenian St

all images courtesy of Jovian Ng.

 

 

 

First Exhibition of 2010! 

 

 

 

Li Cassidy Peet’s new works fold the city on itself. Like the scrap collector
flattening drink cans, they collapse the city’s vacuous volumes and hollow
structures into its grungey, colourful materiality. The city’s steel, styrofoam,
sand and wood are reworked into an urban panorama that is wry, queer
and colubrine.

Li’s work eschews sleek finishes or the kind of polished gloss that even the
arch-camp and the most cynical of ironic projects sometimes welcome for
themselves. Instead, she is intrigued by the roughhewn and the under-
wrought, the way machines can be highly developed in their production
of the unremarkable and the retrograde. When the machine is the size of
a city, perhaps the city itself, the possibilities, as Li would have it, are near
endless,  

 

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