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Issue 3 of NANG Magazine is dedicated to Fiction. Writers and comic artists from around the world were invited to present creative responses to an Asian film or films of their choice. The selected stories range from straightforward fan fiction, in which protagonists continue to exist after their movie has seemingly ended, to semi-autobiographical accounts in which the experience of watching the movie becomes a catalyst or reference. Illustrators were also invited to respond to the selected movies’ posters in the context of the stories. So this Issue is devoted not to the people who make films, but to those who watch films. And yet it invites us to consider: When we think about a movie we have seen, aren’t we also “making” (or “remaking”) that movie in the confines of our own imagination?

About the guest editors:
Amir Muhammad is a Malaysian writer, publisher and occasional movie-maker. Selected filmography: The Big Durian (2003), The Last Communist (2006) and Voyage to Terengganu (with Badrul Hisham Ismail) (2016). He also runs a publishing company, Buku Fixi, for urban pulp fiction in Malay and English.

About NANG Magazine:
NANG is an English-language 10-issue magazine which covers cinema and cinema cultures in the Asian world with passion and insight. Published twice a year over a period of five years, NANG’s ambition is to build a wonderfully rich and profound collection of words and images on cinema, for knowledge, inspiration, and enjoyment.

Beautifully-printed on fine papers, NANG broadens the horizons of what the moving image is in Asia, engaging its readers with a wide array of stories, contexts, subjects and works connected by the cinema.

Each and every issue of NANG is structured around a specific theme and created in collaboration with a unique group of guest editors and contributors based both within and outside Asia.
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Issue 2 of NANG Magazine is dedicated to Scars and Death. Writers, filmmakers, scholars, bloggers, and artists from Japan, South Korea, the Philippines, the USA, Indonesia, Singapore, Vietnam, India, and Kazakhstan contributed to this issue without feeling the need to conform to a particular form or tone of writing. Write about scars and death. Die for the piece and swear by it. For the scarred workers, the dedicated, the desperate enough, for those dying to be offered another chance. For the films we have lost, the scenes that are scarred by time, those missing frames, abrupt endings and low resolutions. For the ones who died on- and off-screen, for deaths we haven’t seen. For those who risk life savings for a fictional piece. For all others who toil away, INT/EXT, their bodies taking it, DAY/NIGHT.

About the guest editors:
Yoo Un-Seong is a film critic, co-publisher of OKULO (a quarterly magazine on cinema and the moving image), and Lecturer at the Korea National University of Arts (K’ARTS). He worked as a programmer of the Jeonju International Film Festival from 2004 to 2012.

John Torres is a filmmaker, writer, musician. Does filmmaking workshops and hosts talks for independently run film and artist space “Los Otros” (with Shireen Seno). Feature films include Todo Todo Teros (2006) and Lukas the Strange (2013). Singer for Taggu nDios, working on their debut EP.

About NANG Magazine:
NANG is an English-language 10-issue magazine which covers cinema and cinema cultures in the Asian world with passion and insight. Published twice a year over a period of five years, NANG’s ambition is to build a wonderfully rich and profound collection of words and images on cinema, for knowledge, inspiration, and enjoyment.

Beautifully-printed on fine papers, NANG broadens the horizons of what the moving image is in Asia, engaging its readers with a wide array of stories, contexts, subjects and works connected by the cinema.

Each and every issue of NANG is structured around a specific theme and created in collaboration with a unique group of guest editors and contributors based both within and outside Asia.
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GRACE BAEY

Grace Baey is a Singapore-based photographer with an interest in social issues. A human  geographer by training, she is especially interested in questions of place, identity and belonging. …
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An intimate project, this publication arises out of an anxiety towards the fast-changing built landscape of Singapore. Its objective is to look at place, memory and nostalgia through architecture, while attempting to understand the images of Singapore in the collective minds. How do we, as agents and recipients of the built environment, come together to decide the landscape that generations after our own would inherit?

We have gone about assembling individual memories of architects and users who are both, in their own ways, image-makers of the city. The result is a collage of both the physical and the sensory coming together to inform something about a spirit of intersecting times.

In its most celebrative tone, the images and anecdotes in this book recognise what we have. Yet, this is not meant as an evasion of criticality. Instead, we encourage readers to take an unprejudiced look at this city we call Singapore, before searching for their own meaning of place. We see this publication as a tribute, as well as a reminder of the choices we make to strengthen our national identity.

The publication features forty buildings in a diversity of styles that were built in different decades — shopping malls, offices, institutional spaces, public housing and private residential developments. Theses featured buildings sit alongside two republished essays — by veteran architects, William Lim and Alfred Wong, respectively — and eight new interviews with architects and an architecture photographer based on their works in Singapore. Lastly, anecdotes on the ground from residents, tenants, shopkeepers and security officers have been inserted throughout the pages of the publication to complete this collective gathering of voices.

This project is supported and partially funded by the iRememberSG Fund of the Singapore Memory Project.
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Initially conceived as a catalogue of the exhibition Retro Specks Future Pix, the book developed as a pictorial journey across Massot’s 30 years of practice as of the date of publication.

Gilles Massot adopts a multidisciplinary process to establish links between narratives, occurrences and parts of the world. Based in Singapore since 1981, his book Bintan, Phoenix of the Malay Archipelago (2003) deeply influenced his artistic work, which now often deals with history and ethnology, while his conceptual concerns are in the theory of photography and the phenomenon of “recording” the revolutionary medium initiated.

His current pictorial project is centred on research about Jules Itier and the first photographs of Asia made in the 1840s, while his theoretical research explores the relations between the history of photography and that of quantum mechanics. A recipient of the French award Chevalier des Arts et des Lettres, his work has been presented in over 50 exhibitions in France and Asia.
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Collect this set of postcards featuring the stunning images from Passing Time, an exhibition presented by Objectifs that showcased the work of Singaporean photographer Lui Hock Seng (b. 1937). Like many photographers of that period, Mr Lui’s subjects of interest ranged widely from streetscapes, to portraits, from architecture to industry. The images are exemplary of pictorial photography, the dominant photography art practice at the time, and provide insight into the beginnings of modern-day Singapore.

Each set contains five postcards with the following images: “Ellenborough Market, Clarke Quay, c.1960s”, “Morning Chat, Bedok Beach, c.1960s – 1970s”, “Walk On, Old Airport Road, c.1960s – 1970s”, “Ducks, Tai Seng, c.1960s – 1970s”, and “Reach, Tanjong Pagar, c.1960s – 1970s”.
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Presence(存在) By Sun Koh

Presence is a 360 film which places the viewer in the presence of a family that is witnessing the death of a loved one at …
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I Carry You In My Heart By Mary Bernadette Lee

I worked with 11 pairs of caregivers and their loved ones with intellectual disabilities from Rainbow Centre, MINDS and …
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3 Acts of Remembering By Kray Chen

I conducted weekly visits with three different Persons with Dementia (PWD) and their immediate caregivers. During each visit, I tried to ask …
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Say Yes To Inclusion By Joseph Chiang

Say Yes to Inclusion examines the importance of inclusion for children with special needs in early childhood education. As we aim to …
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