// 5 Sep - 14 Sep 2014

Ohmydays presents Check On Me 2nite, a CCTV surveillance hack of the "Who's Looking: Surf & Turf" exhibition at Centre for Contemporary Arts Singapore (CCA).

Camera 1

Camera 2

 


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Ohmydays is a pop-up gallery dedicated to
the showcase of contemporary works by a
select group of international artists.

CONTAINER UNIT 113
TELOK KURAU STUDIOS
91, LORONG J TELOK KURAU
SINGAPORE 425985

OHMYDAYS@MAIL.COM
+65 9880 8981 

OHMYDAYS IS CLOSED FOR THE SUMMER. NEW PROGRAMMING WILL RESUME IN THE FALL :)

SUNDAYS
12 - 6 PM 
OR BY APPOINTMENT

 

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by BRAD TINMOUTH
// 30 May - 15 Jun 2014

 

Ohmydays presents Hired Hand, a solo exhibition by Toronto-based artist Brad Tinmouth.

"February 6, 2014: Kevin Vickers, the Canadian Sergeant-at-Arms, informs Canadian members of Parliament that all potted plants housed in House of Commons buildings will be removed and sold—”a discretionary expense”—in accordance with budget cuts under Stephen Harper’s Conservative government. The memo remarks: “Since the plants are Crown assets, employees are not permitted to keep them.” 

Tenet 1. Care for the Earth. Without a healthy Earth, nothing can live successfully. Provisional continuation and multiplication of established life systems, ie. plant propagation (offering clean air, medicinal + edible plant life), solar energy.

February 8, 2014: Thousands of plants are auctioned off on GCSurplus, a federally organized auction website for excess Canadian government goods. Digital images of the plants showcase the dim, 1970s-inspired interiors and cubicle culture of the House of Commons. 

Tenet 2. Care for the People. Provisional access for people to the resources necessary for living, ie. community, trading, permaculture systems education.

February 10, 2014: an anonymous member of Canada’s left-wing elected party, the New Democratic Party (NDP), bids on a lot of 100 plants, most of which were housed in a Conservative building. Speaking with the press, the anonymous member offered: “The war on plants is another example of the failed Conservative policies that we are fighting on a daily basis. If the Conservatives want to keep the plants in their offices, we are contemplating the possibility of leasing them, watering not included.” 

Tenet 3. Return/share of the Surplus. Reinvestment of surpluses to provide for the aforementioned tenets, ie. carbon cycle, composting, recycling.

February 12, 2014: Speaking with the Canadian Broadcast Corporation, a senior NDP staffer mentioned a quote by Ned Rorem as a metaphoric encapsulation of the event: “Plants do not wish to rule the world like us — they have higher concerns.”

No tenet can function without the others. "

Text: Jess Caroll
Billboard image design: Julia Troubetskaia

Brad Tinmouth's practice is concerned with creating sustainable and efficient systems that improve ones quality of life. He also believes that by using DIY techniques and permaculture principles, everyone can be a little bit happier. His previous exhibitions include Cooper Cole and Nuit Blanche in Toronto, Pierre François Ouellette art contemporain 221 in Montreal, Esam Caen in France, Preteen Gallery in Mexico and Dokfest in Germany. His work has also been reviewed on Artinfo Online, Art 21 Online and Canadian Art Online. 


Exhibition Advertisement
 2014
Digital Print
42 x 29.7 cm

Government Planter #175 2014
Government Planter, Maple Leaf Property signage,
Government soil and refuse 

 

 

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by BRIAN KOKOSKA
// 11 May - 25 May 2014

Ohmydays is pleased to present Blood Reply, a solo exhibition by New York based artist Brian Kokoska. For this presentation, the artist has created a new installation comprised of painting, sculpture, acquired objects, custom carpeting and audio. Additionally, a red foldout riso print will accompany the exhibition.

Kokoska's works borrow from various sensibilities including memorial decoration, satanic paraphernalia, cult merchandise and facial iconography. He combines traditional media, painting and sculpture, with items he has collected and/or altered, in this case: a columnesque pedestal, daggers, an anthropomorphic apple-head, frames and a backwards Insane Clown Posse blanket. As an audio component for viewing the work the artist has dragged and looped an acapella recording of Superstar by Karen Carpenter circa 1971.

Intended in Kokoska's installation is a loss of sentimentality and a total disconnect from direct references, forcing a new consideration of predetermined sound and imagery alongside his paintings. He also explores uncanny valley, the disruptive space of human-likeness and repulsion. New works on paper and a symmetrically propelled head sculpture showcase the artists fascination with unexpectedly demonic imagery and the use of the face as monument. The small gallery space as a result acts something like a highly decorated cemetery tomb, place of worship or a memorial mourning.

Brian Kokoska (b. 1988 Vancouver, Canada) is an artist based in New York. He received his BFA from Emily Carr University of Art and Design in 2010. His work has been featured in Art PapersartUSVThe New York TimesCanadian Art, The Philadelphia Inquirer,ArtforumVogue and Art in America. Solo exhibitions include Vox Populi Gallery (Philadelphia), Blanket Contemporary Art (Vancouver), LVL3 Gallery (Chicago), East Hampton Shed (East Hampton) and Preteen Gallery (Mexico City). Brian recently collaborated with designer Devon Halfnight Leflufy for Royal Academy of Fine Arts (Antwerp) and Opening Ceremony (NYC/LA/London/Tokyo). Upcoming solo projects include Dateline (Denver), Macaulay Fine Art (Vancouver) and Oliver Francis Gallery (Dallas). Blood Reply is Kokoska's first solo exhibition in Singapore.


Little Lucifer
2014
Acrylic on Paper
60 x 45 cm

Spiderweb 2014
Acrylic on Paper
60 x 45 cm

Dead Henry 2014
Acrylic on Paper
60 x 45 cm

Hell Black 2014
Clay, Paint, Plastic, Knives, Comb,
Cable Tie, Artist's Pedestal, ICP Blanket

Applebaby 2014
Anthropomorphic ceramic Piggybank,
Synthetic Rose, Paint,

Untitled (hand study) 2014
Rose candle, Plastic, Metal,
Latex glove, Studded Collar

Superstar 2014
Altered audio file, 05:11

 

 

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by JENNIFER CHAN
// 20 Apr - 4 May 2014

Jennifer Chan produces deliberately kitsch remix videos as social commentary on art and gender after the Internet.

Boyfriend combines YouTube-captured webcam videos with images of dominant East Asian masculinity. Headlined by a Mandarin cover of Justin Bieber’s pop hit Boyfriend, K-pop stars, J-pop stars, Taiwanese diaspora, and Canto-pop icons, are recut against “gamer nerds” to deliberate the superficial aspects of performing the archetypal romantic straight male partner in Asian culture.

Love Fighter, an amalgamation of explosive shirt-ripping and transformations from machine to muscles and back, demonstrates the pressures and aspirations towards idealized masculine bodies.

Jennifer Chan is an artist working with video, performance, and web-based media. Recent solo presentations include Images Festival (Toronto), Transmediale 2013 (Germany), The Nightingale Cinema (Chicago), Future Gallery (Berlin) and Vox Populi (Philadelphia, US). Chan has also shown at the Whitechapel Gallery (London, UK), Abandon Normal Devices Festival, and Hyperallergic's tumblr art symposium (New York City, US). She has a HBA in Communications, Culture, Information Technology from University of Toronto and a MFA in Art Video from Syracuse University. Chan was born in Ottawa and raised in Hong Kong. She currently teaches media practices at the School of Art Institute Chicago.

Website: NANYOU.info


Boyfriend
2013 - 14
Digital Video, 4:30

Love Fighter 2014
Digital Video, 1:04

Tristan 2013
Chat text on Microfibre bedding
165 x 240 cm

Nicholas 2013
Chat text on Microfibre bedding
165 x 240 cm

 

 

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RAPIDSHARE:
SINGAPORE MAGIC POWDER NRG 1, 2 & 300%

// 16 Mar - 6 Apr 2014

 

"Each version of this piece is a symbol of fertility and connection strength in our cultural network of idea, meme, and resource sharing, one that often has to survive on minimal supplies. This reblog-friendly prop is a signal of the exchange between a group of artists, curators and other creative thinkers who are building their own peer-based cultures. I don't consider this a work of my own, more like a stunt double that can travel to internationa file-based group shows, living rooms, offices, etc., and represent a larger activity. I often get asked by pop-up curatorial efforts to put together an outsourced show or project on no budget. This piece is a solution to those requests, recognizing the scatter of the post internet swarm and finding a way to survive in it.

The creative sharing in this network is a domestic activity, a handheld activity, one that moves faster than material art production or trends can often keep up with. It is imbued in objects and images as banal as stock photography and as hoaky as store displays. It lives on the perimeter of product logic but rarely turns into a recognizable product itself. The ultimate product is the community, the lexicon."

- Kari Altmann


Figure Fuel
2014
Energy powder and plant

Volumaize 2014
Energy powder and cactus

Booklet 2014
Bounded images
10 x 10cm

 

 

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by MATTHEW JOHNSTONE
// 26 Jan - 16 Feb 2014

"Allegorically the object becomes removed, as though epidemically an ontological virus and consumer. The spectator
has ascribed a digital virus destructive of otherness.

Photoshop allows the consumer to integrate into a protective viral pathology. In this case, the Clone Stamp Tool, impulsive / thoughtful absence and physicality become conflicted. The removal and trace of objectivity becomes conditioned by ideas of beauty in the conceptual passage of reconciling the subjective void.

Digital image production operating over pornography aims at the extinction of the other. Considering the female can symptomise in her dematerialisation; vanish, condensate, reflect, be dust, become debris inside a literal end of alienation. The collision however does not merely create an alibi to conceal, undercover of a destruction of femaleness.

Thought triumphs over impulsion and the image delivers itself more vitally pornographic - an image where the woman does not exist. The definitive loss of the other by the selfsame. The signalled landscape is a fragmented, fallen nature.

1980s Fiesta pornographic images sold in basements dominate their status as a commodified signifier, iconically key to the 20th Century. Italian Sportscars as an allegory of violence and power reproducing viral-esque affect functions, the symbol of the Other.

Johnstone traces a species-less individual depriving symbolic belonging to an ideal goal of the subject, total appropriation of and control over oneself in a strange reciprocity with machine. Thrilling, the screen confronts and casts the Artist-consumer qualitatively immersed in the synthesis of the information dream. Painterly dematerialisations illuminate; decloning and asexualising the species-less individual/object."

Text: L. R. Hidden

Matthew Johnstone (born 1981, UK) is an artist currently living and working in London. Recent exhibitions include BYOB for Boiler Room TV, London, 2013 / Stroking sheets of backlit glass, HD: Projects, NYC, 2013 / Open Shape, NYC for Frieze 2013 / Repeat Pattern, Gloria Knight Gallery, New Zealand, 2013. He is currently producing a series of commissioned works for the forthcoming issue of Baron magazine available in Spring 2014.


C F236 Deep Blue Hosepipe
2014
Digital drawing on archival photograph
200 x 135cm

C F69 Reflection 2014
Digital drawing on archival photograph
100 x 67.5cm

C F111 Ivory Tusks 2014
Digital drawing on archival photograph
100 x 67.5cm

 


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by MICHAEL PYBUS
// 30 Nov - 22 Dec 2013

"In their original contracts for the first season, cast members were paid $22,500 per episode.The cast members received different salaries in the second season, beginning from the $20,000 range to $40,000 per episode. Before their salary negotiations for the third season, the cast decided to enter collective negotiations, despite Warner Bros.' preference for individual deals. The actors were given the salary of the least-paid cast member, meaning Aniston and Schwimmer had their salaries reduced. The stars were paid $75,000 per episode in season three, $85,000 in season four, $100,000 in season five, $125,000 in season six, $750,000 in seasons seven and eight, and $1 million in seasons nine and ten."

Michael Pybus (b. 1982) lives and works in London. He received an MA in Sculpture from the Royal College of Art in 2008 and a BA in Fine Art from Goldsmiths College in 2004. Recent exhibitions include QUICKSAND (solo) - Artereal Project Space - Sydney, Australia (2013), Apartment 4 - Clermont-ferrand, France (2013), THIS IS NOT ABOUT YOU / I DID NOT CHOOSE TO BE HERE - Oliver Francis Gallery, Dallas, USA (2013) and WHITE GOODS (solo) - Schwartz Gallery Project Space - London, UK. In July 2013 he founded WELCOME SCREEN, a contemporary art gallery in London focusing on solo exhibitions by international artists.


Rachel 2013
Laminated printed matter
58 x 23cm

Ross 2013
Laminated printed matter
58 x 23cm

Phoebe 2013
Laminated printed matter
58 x 23cm

Monica 2013
Laminated printed matter
58 x 23cm

Chandler 2013
Laminated printed matter
58 x 23cm

Joey 2013
Laminated printed matter
58 x 23cm

BURGER CHAIN 2013
Chain and burger telephones
Dimensions variable

installed with

INFINITY POOL 2013
Metallic card, staples and ink jet prints
21 x 15cm (unlimited edition)