Wayne Wang-Jie Lim, Singapore / Netherlands

Residency Period: August 1, 2016 - June 30, 2017


Bio

Incidentally conceived in China, raised in Singapore, Wayne Wang-Jie Lim is an art practitioner working and living in Amsterdam. Since 2009, he had exhibited and presented in shows at various venues, from the Institute of Contemporary Arts Singapore (ICAS), Centre for Contemporary Art Singapore (CCA), to the Singapore Art Museum. He was awarded the Winston Oh Travel Research Award in 2013 for a research in Hong Kong, a writer-in-residence at maumau Art Space in Istanbul, Turkey in 2015 and most recently part of a research-residency project co-funded by the Creative Europe Program of the EU, called “Understanding Territoriality” at Cittadellarte-Fondazione Pistoletto in Biella, Italy.

He is currently pursuing his MA at the Dutch Art Institute as a recipient of the Non-EU scholarship grant from ArtEZ Institute of the Arts. His current inquiry focuses on geopolitics, language, philosophy and history in relation to art and hence, experiments with formats that are not the conventional, such as, travelogues, thinking and the writerly.

URL: waynewjlim.com Instagram


On-hiatus Proposal Summary

During his BA studies, Wayne was drafted into the army for mandatory military service that brought a two-year halt to his “practice” — he practically made/produced nothing, and participated in a few minor exhibitions for which he only showed old works he had done in school. Instead, he read a lot, and in retrospect, “prepared” for his final year after his obligatory service ended. This was the first time he questioned what an “artistic practice” meant.

When he returned to finish his degree, he could no longer make art in the way he used to, and his production shifted to a focus on researching and writing, making strategic plans on practicing at the fringe of what can be called “art” before spending only a short couple months at actually producing the “artworks”. Though a national arts body has funded his projects and exhibitions, he is not recognized officially as an artist under the institutions’ national framework of what constitutes artistic practice. This simultaneously “insider / outsider” state has further led him to his current research.

As Wayne begins his hiatus, he will also be working towards his graduate degree, where his thesis-research explores the notion of “non-position/location”. He feels that this timing will prompt him to really ask himself how he could “nourish” himself and re-strategize his artistic practice in order to benefit from the artworld’s infrastructure/institutions but not be subsumed into the wider agenda of neoliberalism and nationalistic rhetoric as a contemporary art producer or a cultural and knowledge producer. He hopes to investigate alternative modes of art production with an ultimate goal of infiltrating the arts market from the peripherals while being completely non-positional and ambiguous. Or practically, what he has to do in order to survive as an artist in a way that will also afford him a comfortable living -- and not like a "poor artist".

During his residency at RFAOH, he primarily wants to spend time on brooding over the function of his “art” and his “practice”. He plans to use the stipend “for nourishment” by purchasing books and organizing a reading group, putting food on his table, paying for his website domain, buying a hashtag on his Instagram account, paying an exorbitant amount for a VIP ticket to an art fair to look at art-for-sale, etc. He also plans to routinely write and perhaps finally learn how to use Instagram to “market” his non-art/borderline art activities.


Final Report

What do I think about when I don't think? As I round up my last few beautiful days in the outskirts of Seoul before I have to head off to Beijing to reunite with my family for a well-deserved vacation, a defiant North Korean missile was fired at 6am this morning, and it landed in the sea not far from Hokkaido, Japan. While the US is conducting its 'regular’ — often unapologetic — military exercise with the South Koreans military, I am sitting here opening, closing, and reopening this report, contemplating — or even procrastinating — about I can possibly write.

“What am I doing here?”, is a question I routinely pose myself. I now wonder if my relentless pursuit of the never-ending “here’s” is perhaps too disruptive. In the same vein, I can’t seem to know where I want to be; except knowing where I do not want to be. It’s an excuse I sometimes use to cover up my escapism. On a different note, while noting the political context of the Korean Peninsula (or the nature of conflicts), I have been rethinking the difference between presence and occupation. It questions not just the essentialism of identity and place — if not nationalism, and the rhetorics of the nationstate — how else and what other ways to justify the existence of being/the conception of statehood. Where is the “inside” and/or the “outside”?

A year ago, I applied mainly with the intention to understand my own practice, and perhaps to find a “direction in my life”, in regards to being simultaneously, an "insider" and an "outsider" of where I come from. The combination of my trajectory at the Dutch Art Institute and RFAOH have certainly pushed my practice into a more theoretical, and political direction/place. With that in mind, it is, therefore, important to think, and employ strategies that bring about higher agency in one's (artistic) practice. Although my initial research premise relating to my thesis have changed — from a "non-position/location" to the "hyperrestrained order" — it nevertheless helped me to understand better my position or role (and even the escapism), and my relationship with the state (Singapore), that changes from being a citizen, a soldier, to an "artist" (as an occupation). I have seen this process as a crucial development — as a theoretical inquiry, and the understanding of the previous — in relation to my art practice. During my hiatus, I have learnt to bring research-traveling-writing to the forefront of my practice — not entirely inclined to the notion of producing artworks as the 'only' way of art-making. Ironically, I believe this journey — of art and life — will/can never truly be on a “hiatus”. If one is practicing life (thinking about Tehching Hsieh's talk), can we say or consider art as the medium of life, while life never stops, and art nourishes life?

The “here” now is post-hiatus. I am excited about what Beijing can I offer me, as well as what I can learn from this potential move. “Post-hiatus” is, so to speak, actually getting over an ex-lover, and confronting some fears I had the past couple years; anxieties and insecurities, where I don’t just ask myself the purpose of my existence at a physical location. It is about living through it, making decisions even if I won’t be liking it, whether its on life, art or love.


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recent comments

On Jul 1 2017, Wayne Lim commented on Back to Life: Hi Shinobu, you're right! Thanks for reminding me about the positive things! And, I am so glad we go[...]

On Jul 1 2017, co-director(s) commented on Back to Life: Congratulations Wayne for finishing both school and RFAOH residency!!! (How ironic that is ;P) You [...]

On Apr 10 2017, Wayne Lim commented on Touristing the United States/But Let's Call This an Airport Rating: Oh I can't imagine how much worse it could get in the snow storms! It's a good lesson. I should alwa[...]

On Apr 10 2017, Lee commented on Touristing the United States/But Let's Call This an Airport Rating: This is terrible! I have a love/hate relationship to travelling. I do most of my air travel in Canad[...]

On Apr 2 2017, Wayne Lim commented on From Brussels to Mechelen, Mexico City to New York City: @S No discussion needed (it is exactly how I described it "pseudo-work-study-trip" :P)!! Hahaha! But[...]


Scrambling Back in Amsterdam

It has been about three weeks since I got back from New York but it was only the last couple days that I felt like I’m here after returning from Eindhoven and Arnhem for the DAI. It was really nice to see Joost and Rachel in Amsterdam again and I finally sat down for about 9 hours writing my thesis. That was good. I have been busy planning my post-DAI life that I’ve really neglected my thesis for at least 3 months. And here’s what needs to be completed in the coming 6 weeks:

  1. finish thesis
  2. finalize graduating presentation at the DAI
  3. update website

At the moment, I am really tempted to go to Venice Biennale for a few days but that means that I will potentially lose two weeks to work on my thesis because the next DAI week is going to be a week and a half. I regretted like hell two years ago when I missed it and this time, it’s a difficult choice that I have to make, or end up not making. 

I’d love to write more but I’m not sure what I can form right now. And I’m panicking once again as the deadline draws near for my thesis. But below are things I’ve been looking at or things I have given some thoughts to: 

  • How to disobey and get away? How? Against who and what? 
  • How do the aesthetics of the military enforces state formation?
  • What can be considered “peripheral practices”? Selective isolation? Alienation? Self-exile?

So I’ve been reading Gilles Deleuze’s Postscript on the Societies of Control and assessing whether Singapore is a “society of discipline” or “society of control” or, both. Under such conditions, how do we think about ways to disobey, to avoid being governed or bypass governance itself? Tehching Hsieh‘s work comes to my mind. His practice on isolation and alienation wouldn’t have been possible with the strict discipline he went through during his 3 years of mandatory military service. His works are deeply regimented and philosophical. As I write about the “impossibilities and limits of art”, the more I am made to convince the importance of aesthetics and symbolism behind an artistic practice that is at the peripherals art practice itself. How to give form? How to give meaning? 

Once again, all these make me think about artmaking. The stakes somehow get higher and higher and there is no way out…

 


More on Tehching Hsieh’s works: 

Deborah Sontag, A Caged Man Breaks Out at Last. February 25, 2009. On New York Times.

Taiwan Features Tehching Hsieh at the 2017 Venice Biennale

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