Search Results for: momo film co

An enthusiastic group of 12-year-olds look deeper into their home, Lengkok Bahru, through design thinking and game design, led by a fun group of facilitators who’ve grown up with them over the years.

This box set of four games which pack fun, personality and aspiration, is the result of their year-long effort to share a perspective inspired by the people and places they grew up with.

The First Class box-set includes House of Cats, a fast-paced memory-matching game to find missing cats; Swank Tank, a cooperative game to assemble fish tanks without scum; Market Blitz, a competitive card game to build a dream business empire and Unleashed, a party game of persuasion and sabotage with neighbourhood dogs.

About Superhero Me

Birthed in 2014 as an early childhood programme for preschoolers from a low-income neighbourhood, Superhero Me found its niche in inclusive arts programmes for children.
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Nobody seems to understand 6-year-old Darryl, until one day, a mysterious new friend – Blob – visits from space and they form an instant connection. How will this chance encounter change Darryl’s way of expressing himself as he travels with Blob through the Universe of Feelings?

About Quek Hong Shin

Quek Hong Shin is an award-winning author and illustrator whose work includes The Incredible Basket (Best Children’s Picture Book at the Singapore Book Awards 2019), The One and Only Inuka and The Amazing Sarong, his first book which was shortlisted for the Hedwig Anuar Children’s Book Award in 2018. Hong Shin joined Superhero Me in 2016 as a facilitator, or captain, where he honed his skills in fostering social interaction between children of different abilities and co-creating art with them. Hong Shin was one of six lead artists involved in PEEKABOO!, a six-month inclusive arts residency at Rainbow Centre which culminated in a festival in March 2019. His visual arts installation – Universe of Feelings – co-created with two classes of students with autism, sparked the development of this book.

About Superhero Me
Birthed in 2014 as an early childhood programme for preschoolers from a low-income neighbourhood, Superhero Me found its niche in inclusive arts programmes for children.

 
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A seven-year-old boy has an impossible dream of bringing extinct animals back to life. He sets out on a journey of discovery through art to build his understanding of biodiversity. Knowledge is power, some say. What will he do with what he knows?

About Superhero Me
Birthed in 2014 as an early childhood programme for preschoolers from a low-income neighbourhood, Superhero Me found its niche in inclusive arts programmes for children.
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An exhibition by Zen Teh and SueKi Yee

14 Jan to 2 Mar 2025 Objectifs Lower Galleries Opening: Tue 14 Jan 2025, 6pm – 9pm The opening reception …
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Sat 21 Dec 2024, 1pm – 5pm Lower Galleries, Objectifs Free admission No registration required, walk-ins only

Photographers: Adam Russell Bin Mohamed Raziff, Justin Tan, Kiong Wei Zhong, Natalie Sin …
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Foster greater empathy and awareness about the diversity of human experiences with these illustrative children’s books. With the aim of empowering the community to tell their own stories, these were inspired by true accounts of Duchenne Muscular Dystrophy survivor Shalom Lim and Spinal Muscular Atrophy advocate Sherry Toh, illustrated by autistic artists Muhd Noh and Aaron Yap.

Loud Little Mermaids

The children stare at Aurora, adults look awkwardly away. She feels like a fish in an aquarium, isolated from others. Until she meets someone just like her, someone who shows her it is possible to live independently, to be a part of their world.
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From learning the alphabet through fruits and vegetables, to practising counting with animals and identifying emotions, teaching your little one can be fun with these packs of flash cards!

ARTDIS (Singapore) Ltd, formerly known as Very Special Arts Singapore, is a leading non- profit organisation dedicated to creating learning and livelihood opportunities for persons with disabilities in the arts.

Started in 1993 by Ambassador-at-Large Professor Tommy Koh, ART:DIS organises art programmes, projects, collaborations, exhibitions and performances for persons with disabilities to reach for excellence and be relevant in the future. ART:DIS further establishes pathways in the arts for persons with disabilities to express themselves, gain confidence and be part of a community.
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How can we see beyond the form? How do we hold room for instability and expansion? How can a gaze be an act of care?

Singmoolsung (Minsoo Bae and Anonymous Collaborator) presents a photo-research enquiry into the queer gaze and an archive of queer life drawing circle Singapore.

Departing from queer phenomenology as the grounding literature, this project posits the queer gaze as a kind of unseeing: extrasensory, beyond the material form, incomplete and sprawling.
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Very little about the photobooth experience has changed since its inception in the early twentieth century. There is a particular charm to its inherent simplicity and repetition. The framing is fixed, as is the lighting, backdrop, and time between photographs. Only we, the subject, are the ones that change.

Co-published by Perimeter Editions and the Centre for Contemporary Photography, Auto-Photo: A Life in Portraits tells the story of Alan Adler, a man who is likely the most photographed person in Australia, and is also perhaps the oldest and longest-serving photobooth technician in the world.

For more than fifty years, Adler maintained a suite of photobooths across Melbourne/Naarm – most notably, at a site near Flinders Street Station – and would undertake weekly testing and servicing on each photobooth across his network. To ensure the focus, flash, and print quality were all up to standard at the end of each service, Adler would take a seat in the booth and produce a test strip of photographs. Through these weekly tests, Adler produced an archive of thousands upon thousands of photographs. While his decades-long operation has contributed to the photography of over a million people, these self-portraits are the only surviving record of Adler’s life’s work – a tangible document of his role in maintaining the photobooth tradition. The images that appear in Auto-Photo, which span from the 1970s to the 2010s, give us clues about the person who inhabits them, along with the passing of time. Adler’s gappy grin, comedic expressions, and pet cats intermingle with shifting fashions, retro colour film tints, and an increasing crinkling around the eyes.

In 2018, with the booth at Flinders Street Station facing imminent closure, Christopher Sutherland and Jessie Norman – whose operation later became known as Metro-Auto-Photo – began working with Adler to generate interest in his work and to successfully save his photobooth. Now in his nineties, Adler has since sold his photobooths to Metro-Auto-Photo, who have compiled this publication with the CCP and Perimeter to illuminate Adler, his unique collection, and his impact on Australia’s photography history.

Auto-Photo: A Life in Portraits, which will be launched ahead of a major exhibition in 2025, features texts by Patrick Pound, Catlin Langford, and Daniel Boetker-Smith, along with an interview with Alan Adler, Jessie Norman, and Christopher Sutherland. This book is an ode to a man who, by sustaining the production of photographs, actively lives through them.
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Border closures, flight cancellations, stay-at-home orders; a collective populace clinging to news broadcasts, online analysis, social media, and hearsay. Few times in our living memory had language – however fragmented, misinformed, measured or rhetorical – carried such weight.

The early iterations of Mountain of Salt, Bindi Vora’s expansive series of text-based collage works, began to take form in this very context. Comprising found photographs and digital shape collages, each married to phrases and statements appropriated from news articles, press conferences, and social media, the 371-strong series traces the interweaving social, political and ideological arcs of the early phases of the pandemic, the post-Brexit era, and Black Lives Matter, landing squarely on the potency of language. ‘I, like many others, became acutely aware of the landscape in which we were living in, where everything felt amplified,’ says Vora. ‘Clinging to the news for updates, statistics and curves … for me it highlighted the way words and speech have a physical presence, bearing upon us and carrying weight.’

Through a cacophony of visual and textual fragments, this book – the London-based artist’s first with Perimeter Editions – revels in the tension between the micro and macro, the individual and collective, and the personal and political, teasing out and making connections between the individual events and linguistic armatures that come to build broader historical eras and movements. The outcomes are incisive, sober, witty, and wry, magnifying language’s ability to both define and dispel the collective mood. Drowning in a morass of information, phrases, photographs, infographics, throwaway lines, and revolutionary dictums, Vora’s visually poetic works echo the unfixed contemporary state. A place where alarm, agitation, desensitisation, and bemusement seem to intersect. Where words – free of hierarchy, nuance, and context – prove as absurd as they are critical. Mountain of Salt reads as a resolve to use them with great care.

Shortlisted for the Paris Photo-Aperture First Book Award 2023 

About Bindi Vora

Bindi Vora is an interdisciplinary artist of Kenyan-Indian heritage, associate lecturer at LCC and senior curator at Autograph, London. She interested in how ideas of resistance and resilience are shaped by our surroundings, histories and lived experiences. Her practice often combines linguistics and an archive of personal and found photographs procured over the last decade to draw on the intersections between language, culture and their inherent power dynamics.

Her works have been exhibited at The Photographers’ Gallery (UK); Yinka Shonibare’s Guest Projects (UK); 180 The Strand (UK); Victoria & Albert Museum of Childhood (UK); Phoenix Gallery (UK); Cultural Centre of Belgrade (RS); Benaki Museum (GR); Art Stage, (SG); amongst others. Vora has been commissioned by the Hospital Rooms an arts and mental health charity to create new artworks for Devon Partnership NHS Foundation (2019) and Southwest London and St George’s Mental Health Trust (2023); additionally she was commissioned by FT Weekend Magazine ‘My London’ supplement (2023). In 2023 her first major photobook Mountain of Salt was published by Perimeter Books which has been shortlisted for the Aperture Foundation x Paris Photo First Book Award 2023.

Her works are part of collections including the Guy’s and St Thomas Foundation (UK); Imperial Health Charity (UK); National Museums NI (UK) amongst others. Vora is currently the artist-in-residence at the National Museum Northern Ireland as part of the 20/20 programme led by the UAL Decolonising Arts Institute. She lives and works in London.
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