Tierra, fuegos y sueños
Tierra, fuegos y sueños
French artist Andree Weschler.jpg
Andrée Weschler et Javier Canales.jpg
Performeuse Weschler Andree.jpg
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”
La Carte de Tendre Revisited by Andrée Weschler & Lynn Lu
La Carte de Tendre Revisited by Andrée Weschler & Lynn Lu
Artist Singapore Andree Weschler.jpg
Andrée Artiste.jpg
Artiste français Andrée Weschler.jpg
Art in Singapore.jpg
Weschler art Singapore.jpg
Lynn Lu and Andrée Weschler.jpg
Installation Singapore.jpg
   
  
 
  
    
  
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    The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005   
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005   
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
Honey
Honey
Innocence #01, 2008
Innocence #01, 2008
Innocence #01, 2008
Innocence #01, 2008
The Egg, 2005
The Egg, 2005
The Egg, 2005
The Egg, 2005
The Egg
The Egg
The Egg
The Egg
The Egg
The Egg
Photographer by Anita Vozza, 2015
Photographer by Anita Vozza, 2015
Weschler Andrée.jpg
Performance artist Andrée Weschler.jpg
Andrée Weschler.jpg
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Innocence#04 by Andrée Weschler, 2008
Innocence#04 by Andrée Weschler, 2008
Innocence #02
Innocence #02
Innocence #02
Innocence #02
Innocence #02
Innocence #02
Innocence by Andrée Weschler
Innocence by Andrée Weschler
Innocence #02, picture by Anita Vozaa
Innocence #02, picture by Anita Vozaa
Innocence #02
Innocence #02
Innocence #02
Innocence #02
Love Letters, Video, 2015
Love Letters, Video, 2015
Love Letter, Video, 2015
Love Letter, Video, 2015
Love Letter, Video, 2015
Love Letter, Video, 2015
Love Letter, Video, 2015
Love Letter, Video, 2015
Eulogy for my toothbrush, 2015
Eulogy for my toothbrush, 2015
Eulogy for my white panty, 2015
Eulogy for my white panty, 2015
Eulogy for a picture of Paris, 2015
Eulogy for a picture of Paris, 2015
Eulogy for Les Fleurs du Mal of Charles Baudelaire, 2015
Eulogy for Les Fleurs du Mal of Charles Baudelaire, 2015
The Need for an Alteration, 2011
The Need for an Alteration, 2011
The Need for an Alternation, 2011
The Need for an Alternation, 2011
Performance artist in Singapore.jpg
8Q.jpg
Black #01
Black #01
Black #01
Black #01
Performance artist Singapore.jpg
Chinese ink.jpg
Love Seeds
Love Seeds
Love Seeds, 2012
Love Seeds, 2012
Performance Singapore.jpg
Palais de Tokyo.JPG
Ceramic in Singapore.jpg
Innocence, Picture by Anita Vozza
Innocence, Picture by Anita Vozza
Innocence ICASTICA 2013, First Women Biennale
Innocence ICASTICA 2013, First Women Biennale
Innocence, 2013
Innocence, 2013
Icastica 2013 [extract]
Icastica 2013 [extract]
Innocence
Innocence
Innocence, picture by Anita Vozza
Innocence, picture by Anita Vozza
Innocence, 2013
Innocence, 2013
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
Choir, 2003
Choir, 2003
Choir, 2009
Choir, 2009
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
The Choir, 2003
MAKE THE in VISIBLE,  2015
MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
MAKE THE in VISIBLE, Andrée Weschler
MAKE THE in VISIBLE, Andrée Weschler
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015
MAKE THE in VISIBLE, 2015
MAKE THE in VISIBLE, 2015
Artiste français en Asie.jpg
Andrée Weschler.jpg
Artiste français en Corée.jpg
Wescher Andrée.jpg
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
The Venus in Furs, 2006
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
Anitya // Skhandas
DSC02289.jpg
DSC02282.jpg
DSC02285.jpg
[extract] Domesticated in her Animality by Andrée Weschler, 2002
[extract] Domesticated in her Animality by Andrée Weschler, 2002
To Wolf Down
To Wolf Down
To Wolf Down, 2006
To Wolf Down, 2006
To Wolf Down, 2006
To Wolf Down, 2006
To Wolf Down, 2006
To Wolf Down, 2006
The Memory of Water, 2012
The Memory of Water, 2012
Gillman Barracks.jpg
Lee Weng Choy.jpg
Lee Weng Choy.jpg
Lee Weng Choy Singapore.jpg
Lee Weng Choy.jpg
The Memory of Water, 2012
The Memory of Water, 2012
Lee Weng Choy.jpg
Drawing by Pierre Boaistuau, Histoires prodigieuses, 1560
Drawing by Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2004
The Hairy Virgin, 2004
The Hairy Virgin, 2013
The Hairy Virgin, 2013
Cover Book of Histoires Progieuses
Cover Book of Histoires Progieuses
The Hairy Virgin, 2008
The Hairy Virgin, 2008
The Hairy Virgin, 2008
The Hairy Virgin, 2008
The Hairy Virgin, 2004
The Hairy Virgin, 2004
The Hairy Virgin, 2013
The Hairy Virgin, 2013
The Hairy Virgin, 2008
The Hairy Virgin, 2008
The Hairy Virgin, 2004
The Hairy Virgin, 2004
The Hairy Virgin,  2004
The Hairy Virgin, 2004
The Hairy Virgin, 2004
The Hairy Virgin, 2004
DSC03392.jpg
Sexual Landscape, 2002
Sexual Landscape, 2002
Sexual Landscape, 2002
Sexual Landscape, 2002
Sexual Landscape, 2002
Sexual Landscape, 2002
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
If you imagine my dear that... 2011
Parasite, 2005
Parasite, 2005
Parasite, 2005
Parasite, 2005
Parasite by Andrée Weschler, 2005
Parasite by Andrée Weschler, 2005
Parasite, 2005
Parasite, 2005
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black #02, 2010
Black#02 by Andrée Weschler, 2010
Black#02 by Andrée Weschler, 2010
Drawing 2005
Drawing 2005
Drawing 2005
Drawing 2005
Drawing, 2005
Drawing, 2005
Photo Library - 0002.jpg
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Human Nature, 2003
Between the Hair and the Stone, 2000
Between the Hair and the Stone, 2000
Between the Hair and the Stone, 2000
Between the Hair and the Stone, 2000
Between the Hair and the Stone
Between the Hair and the Stone
Between the Hair and the Stone by Andrée Weschler, 2000
Between the Hair and the Stone by Andrée Weschler, 2000
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Poster for Amputation, 2006
Poster for Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Amputation, 2006
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Bit by Bit, 2008
Relque Andree Weschler.jpg
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
The Sound of the Princess, 2004
Wok, 2011
Wok, 2011
Wok, 2011
Wok, 2011
Tierra, fuegos y sueñosCollaboration Javier Canales and Andrée WeschlerPatagonia, ChileJanuary 2017
French artist Andree Weschler.jpg
Andrée Weschler et Javier Canales.jpg
Performeuse Weschler Andree.jpg
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”Collaboration Javier Canales and Andrée WeschlerPatagonia, ChileJanuary 2017
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”Collaboration Javier Canales and Andrée WeschlerPatagonia, ChileJanuary 2017
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”Collaboration Javier Canale and Andrée WeschlerPatagonia, ChileJanuary 2017
“TIERRA, FUEGOS Y SUEÑOS…”
“TIERRA, FUEGOS Y SUEÑOS…”Collaboration Javier Canales and Andrée WeschlerPatagonia, ChileJanuary 2017
La Carte de Tendre Revisited by Andrée Weschler & Lynn Lu 
Artist Singapore Andree Weschler.jpg
Andrée Artiste.jpg
Artiste français Andrée Weschler.jpg
Art in Singapore.jpg
Weschler art Singapore.jpg
Lynn Lu and Andrée Weschler.jpg
Installation Singapore.jpg
   
  
 
  
    
  
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    The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005   
0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005 
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005   
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005 
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
 The Prayer for Unfaithful Women is an Art Performance about Art and War  Fringe Festival, Esplanade, Singapore  2005
The Prayer for Unfaithful Women is an Art Performance about Art and WarFringe Festival, Esplanade, Singapore2005
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
COLLABORATION with the photographer Simon Carr, 2010
Honeyhoney/hʌni/noun1. a sweet, sticky yellowish-brown fluid made by bees and other insects from nectar collected from flowers.any sweet substance similar to bees' honey.2. informalan excellent example of something."it's one honey of an adaptation" 
Innocence #01, 2008
Innocence #01, 2008Innocence#01 is the very first performance of a series named Innocence. The series was inspired by a Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.Innocence is a series of Performance Art working with the color white.Each Performance Art is based on  one white material only. For instance  the performance with the egg is like being a child again, looking at an egg for the first time and discovering it. Andrée Weschler is interested in using her body to understand the material to the extend that the body becomes a material in itself.Material for the Performance: White Eggs 
Innocence #01, 2008
Innocence #01, 2008Innocence#01 is the very first performance of a series named Innocence. The series was inspired by a Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.Innocence is a series of Performance Art working with the color white.Each Performance Art is based on  one white material only. For instance  the performance with the egg is like being a child again, looking at an egg for the first time and discovering it. Andrée Weschler is interested in using her body to understand the material to the extend that the body becomes a material in itself.Material for the Performance: White Eggs  
The Egg, 2005
The Egg, 2005Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. 
The Egg, 2005
The Egg, 2005Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.
The Egg
The EggPerformance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.
The Egg
The EggPerformance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.
The Egg
The EggPerformance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.
Photographer by Anita Vozza, 2015
Photographer by Anita Vozza, 2015
Weschler Andrée.jpg
Performance artist Andrée Weschler.jpg
Andrée Weschler.jpg
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For Future of Imagination 10, I will try to re-do my first performance art as if it were the first time, Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]  In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]
Can a first performance be truly relived? [2003-2015]In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragmentMy performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'.How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.Since then my relationship with performance has vacillated between love and hate.For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015]
Innocence#04 by Andrée Weschler, 2008Innocence#04 Video Performance, 2008This video is part of a series of works named Innocence, that started in 2007, inspired by the performance "The Egg" done in 2005 at Stopover, Performance Art Meeting, Front.Room.Gallery, Singapore Innocence is a series of Performance Art working with the color white.Each Performance Art is based on one material only. For instance  with the egg, it is like a child looking at an egg for the first time and discovering it. Andrée Weschler is interested in using her body to understand the material to the extend that the body becomes a material in itself. 
Innocence #02
Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby PowderPicture by Anita Vozza
Innocence #02
Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby Powder
Innocence #02
Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby Powder
Innocence by Andrée Weschler
Innocence by Andrée Weschler
Innocence #02, picture by Anita Vozaa
Innocence #02, picture by Anita VozaaInnocence #02 is part of a series of Performances Art using only material with the color white.The material used for the performance is: Baby Powder
Innocence #02
Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color whiteThe material for Innocence #02: Baby PowderSeptFest, The Substation, Singapore 2--7 
Innocence #02
Innocence #02Innocence #02 is part of a series of Performances Art using only material with the color white.The material for the performance is Baby Powder
Love Letters, Video, 2015
Love Letters, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary 
Love Letter, Video, 2015
Love Letter, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary 
Love Letter, Video, 2015
Love Letter, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary 
Love Letter, Video, 2015
Love Letter, Video, 2015Def. love letter/lʌv ˈlɛtə/noun 1. a letter or note written by someone to his or her sweetheart or lover2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinderCollins English Dictionary 
Eulogy for my toothbrush, 2015
Eulogy for my toothbrush, 2015often I was lent a hand that could only belong to youoften given the time of day when no one else wouldwithout you I would not have been able to make it.did I ever thank you?to some of you perhapsto others not oncetoo busy;I organised, I scrutinised, I tidied, I emptiedI abandoned you.the rejectedthe unsuitablethe clunkytoo oldtoo dirtytoo muchmy baggage may be lighterbut my heart is heavieradieu!
Eulogy for my white panty, 2015
Eulogy for my white panty, 2015often I was lent a hand that could only belong to youoften given the time of day when no one else wouldwithout you I would not have been able to make it.did I ever thank you?to some of you perhapsto others not oncetoo busy;I organised, I scrutinised, I tidied, I emptiedI abandoned you.the rejectedthe unsuitablethe clunkytoo oldtoo dirtytoo muchmy baggage may be lighterbut my heart is heavieradieu!
Eulogy for a picture of Paris, 2015
Eulogy for a picture of Paris, 2015often I was lent a hand that could only belong to youoften given the time of day when no one else wouldwithout you I would not have been able to make it.did I ever thank you?to some of you perhapsto others not oncetoo busy;I organised, I scrutinised, I tidied, I emptiedI abandoned you.the rejectedthe unsuitablethe clunkytoo oldtoo dirtytoo muchmy baggage may be lighterbut my heart is heavieradieu!
Eulogy for Les Fleurs du Mal of Charles Baudelaire, 2015
Eulogy for Les Fleurs du Mal of Charles Baudelaire, 2015often I was lent a hand that could only belong to youoften given the time of day when no one else wouldwithout you I would not have been able to make it.did I ever thank you?to some of you perhapsto others not oncetoo busy;I organised, I scrutinised, I tidied, I emptiedI abandoned you.the rejectedthe unsuitablethe clunkytoo oldtoo dirtytoo muchmy baggage may be lighterbut my heart is heavieradieu!
The Need for an Alteration, 2011
The Need for an Alteration, 2011Video Performance, 2011The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”,  then “Black #04”  to “Image” and finally “The Need for an Alternation”
The Need for an Alternation, 2011
The Need for an Alternation, 2011Video Performance, 2011The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”,  then “Black #04”  to “Image” and finally “The Need for an Alternation”
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Black #01
Black #01 “This work is part of a new series of performances using the color black. I have been thinking about doing this specific work for more than a year. It is an image that I have in mind and cannot forget. Even though there were difficulties in my life, even if the priorities of life did not allow me to practice my art, I could not forget the image. Last year, I had to stop working as an artist and move with my children back to France because we just had no more money left for food. One day I was explaining my frustration of not being able to practice my art to my son Carl-Fredrik. My words were mixed with tears, anger and discouragement. He answered me with a question: “Look at your dad. He is an old man; he is sick. He stays at home everyday but he is an artist and you know it right?” He was right, my son of 13 years old was right. I could not show my work but it did not mean that all was dead in me. The image of the performance in my head is like a plant. I can see it every day even now as I write this statement. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title.For this image, the title came spontaneously as “Happiness”, the concept of happiness working with the color black. Time was passing by, problems were not solved, and the Image was intact and strong, only the title was changing successively – from “Happiness” to “Alternate Happiness”, then “Black” and finally “Image”.In this performance, I will try to reach the Image that has been haunting me for months.”Andrée WeschlerMay 2010
Black #01
Black #01 “This work is part of a new series of performances using the color black. I have been thinking about doing this specific work for more than a year. It is an image that I have in mind and cannot forget. Even though there were difficulties in my life, even if the priorities of life did not allow me to practice my art, I could not forget the image. Last year, I had to stop working as an artist and move with my children back to France because we just had no more money left for food. One day I was explaining my frustration of not being able to practice my art to my son Carl-Fredrik. My words were mixed with tears, anger and discouragement. He answered me with a question: “Look at your dad. He is an old man; he is sick. He stays at home everyday but he is an artist and you know it right?” He was right, my son of 13 years old was right. I could not show my work but it did not mean that all was dead in me. The image of the performance in my head is like a plant. I can see it every day even now as I write this statement. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title.For this image, the title came spontaneously as “Happiness”, the concept of happiness working with the color black. Time was passing by, problems were not solved, and the Image was intact and strong, only the title was changing successively – from “Happiness” to “Alternate Happiness”, then “Black” and finally “Image”.In this performance, I will try to reach the Image that has been haunting me for months.”Andrée WeschlerMay 2010
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Love Seeds
Love SeedsOn les appelle "Love Seeds",  graines de l'amour et elles poussent sur un arbre appelé le Saga
Love Seeds, 2012
Love Seeds, 2012On les appelle "Love Seeds",  graines de l'amour et elles poussent sur un arbre appelé le Saga
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Innocence, Picture by Anita Vozza
Innocence, Picture by Anita Vozza "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.I tried to carry the necklace the way I carry my years"
Innocence ICASTICA 2013, First Women Biennale
Innocence ICASTICA 2013, First Women Biennale“In 2006, my life was a desert. Everybody seemed busy, active, alive, while I was a prisoner in my own apartment. Nothing was happening in my life, and I felt I was a thing among others in my home. One day I received from a friend a pack of clay. I started to roll small pearls of porcelain from the clay for no reason. They were cute. To escape from my lethargy, every night I rolled pearls made of porcelain, like Penelope weaving her tapestry while waiting for Ulysses, except that in my story there was no Ulysses. All the pearls together became a very long necklace of a few metres; very beautiful, very difficult to move, very heavy.”This was some years ago. Everything has changed since then: the others and I. This time the necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.
Innocence, 2013
Innocence, 201350 kilos of beats rolled in porcelain by Andrée Weschler
Icastica 2013 [extract]
Innocence
Innocence "The necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.I tried to carry the neckless like I carry my years"
Innocence, picture by Anita Vozza
Innocence, picture by Anita Vozza"The necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious.I tried to carry the neckless like I carry my years"
Innocence, 2013
Innocence, 2013Video Installation after the performance art in Arezzo, Italy 
The Choir, 2003
The Choir, 2003Digital photography
The Choir, 2003
The Choir, 2003Digital photography
The Choir, 2003
The Choir, 2003Digital photography
Choir, 2003
Choir, 2003Digital photography
Choir, 2009
Choir, 2009Photo InstallationLublin, Poland  
The Choir, 2003
The Choir, 2003Digital photography
The Choir, 2003
The Choir, 2003Digital photography
The Choir, 2003
The Choir, 2003Digital photography
MAKE THE in VISIBLE,  2015
MAKE THE in VISIBLE, 2015MAKE THE in VISIBLE, Andrée Weschler2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Jun
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 20152 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Jun
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015Picture by Kai Lam 
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015MAKE THE in VISIBLE, Andrée Weschler2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Jun
MAKE THE in VISIBLE, Andrée WeschlerMAKE THE in VISIBLE, Andrée Weschler2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the Arts
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015 MAKE THE in VISIBLE2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Kai Lam
​MAKE THE in VISIBLE, 2015
​MAKE THE in VISIBLE, 2015 MAKE THE in VISIBLE, Andrée Weschler2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Kai Lam 
MAKE THE in VISIBLE, 2015
MAKE THE in VISIBLE, 2015MAKE THE in VISIBLE2 April 2015Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the ArtsPicture by Kai Lam
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The Venus in Furs, 2006
The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
The Venus in Furs, 2006
The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
The Venus in Furs, 2006
The Venus in Furs, 2006 Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
The Venus in Furs, 2006
The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York) 
The Venus in Furs, 2006
The Venus in Furs, 2006 Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
The Venus in Furs, 2006
The Venus in Furs, 2006Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York) 
The Venus in Furs, 2006
The Venus in Furs, 2006 Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
The Venus in Furs, 2006
The Venus in Furs, 2006 Video Performance“It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog”Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books,  New York)
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Some Flowers to Make it Look Beautiful, 2003
Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds.2. the flower of, the finest part of3. the flower of speech, ornamental phraseOxford Advanced Learner’s Dictionary of Current English
Anitya // Skhandas
Anitya // SkhandasThe Observatory with Elizabeth Lim & Andrée WeschlerLatent Space, Haw Par Villa, SingaporeJanuary 2015Picture by The Idealist
Anitya // Skhandas
Anitya // SkhandasThe Observatory with Elizabeth Lim & Andrée WeschlerLatent Space, Haw Par Villa, SingaporeJanuary 2015Picture by The Idealist
Anitya // Skhandas
Anitya // SkhandasThe Observatory with Elizabeth Lim & Andrée WeschlerLatent Space, Haw Par Villa, SingaporeJanuary 2015Picture by The Idealist
Anitya // Skhandas
Anitya // SkhandasThe Observatory with Elizabeth Lim & Andrée WeschlerLatent Space, Haw Par Villa, SingaporeJanuary 2015Picture by The Idealist
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[extract] Domesticated in her Animality by Andrée Weschler, 2002Domesticated in her Animality, video, 2002“The video lasts 45 minutes. I look in the video camera as if it is a mirror. The video camera becomes a conduit from the private space to the public place.I pluck my eyebrows, one hair after the other, one by one. At first the process is constructive, the eyes get bigger, the face prettier. But the process does not stop and suddenly removing hair one by one becomes destructive. A simple act of everyday becomes definitive.”Andrée Weschler 
To Wolf Down
To Wolf DownCovering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy
To Wolf Down, 2006
To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.
To Wolf Down, 2006
To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy
To Wolf Down, 2006
To Wolf Down, 2006Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy
The Memory of Water, 2012
The Memory of Water, 2012The Memory of Water, part of Singapore Intensive, presented by Future PerfectGilman Barracks, Singapore 
Gillman Barracks.jpg
Lee Weng Choy.jpg
Lee Weng Choy.jpg
Lee Weng Choy Singapore.jpg
Lee Weng Choy.jpg
The Memory of Water, 2012
The Memory of Water, 2012The Memory of Water, part of Singapore Intensive, presented by Future PerfectGilman Barracks, Singapore
Lee Weng Choy.jpg
Drawing by Pierre Boaistuau, Histoires prodigieuses, 1560
Drawing by Pierre Boaistuau, Histoires prodigieuses, 1560Drawing by Pierre Boaistuau, Histoires prodigieuses, 1560The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2004
The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2013
The Hairy Virgin, 2013 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
Cover Book of Histoires Progieuses
Cover Book of Histoires ProgieusesPierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2008
The Hairy Virgin, 2008The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses,
The Hairy Virgin, 2008
The Hairy Virgin, 2008The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses,
The Hairy Virgin, 2004
The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2013
The Hairy Virgin, 2013The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2008
The Hairy Virgin, 2008The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2004
The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin,  2004
The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
The Hairy Virgin, 2004
The Hairy Virgin, 2004The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King.In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.“A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”Pierre Boaistuau, Histoires prodigieuses, 1560
DSC03392.jpg
Sexual Landscape, 2002
Sexual Landscape, 2002Peppers Gallery, Tokyo, Japan
Sexual Landscape, 2002
Sexual Landscape, 2002Peppers Gallery, Tokyo, Japan
Sexual Landscape, 2002
Sexual Landscape, 2002Peppers Gallery, Tokyo, Japan
If you imagine my dear that... 2011
If you imagine my dear that... 2011“If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poemSi tu t’imagines, by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl,  if you imagine, that is going to last forever the season of  the season of season of love,you got it all wrong girl, you got it all wrongIf you think my dear, if you think  that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not,  you got it all wrong, girl girl, you got it all wrong” 
If you imagine my dear that... 2011
If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poemSi tu t’imagines, by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl,  if you imagine, that is going to last forever the season of  the season of season of love,you got it all wrong girl, you got it all wrongIf you think my dear, if you think  that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not,  you got it all wrong, girl girl, you got it all wrong”
If you imagine my dear that... 2011
If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poemSi tu t’imagines, by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl,  if you imagine, that is going to last forever the season of  the season of season of love,you got it all wrong girl, you got it all wrongIf you think my dear, if you think  that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not,  you got it all wrong, girl girl, you got it all wrong”
If you imagine my dear that... 2011
If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poemSi tu t’imagines, by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco.The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it.Translation of the French poem:“If you imagine, if you imagine, girl girl,  if you imagine, that is going to last forever the season of  the season of season of love,you got it all wrong girl, you got it all wrongIf you think my dear, if you think  that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrongBeautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not,  you got it all wrong, girl girl, you got it all wrong”
Parasite, 2005
Parasite, 2005Parasite  n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return.The Oxford Paperback Dictionary
Parasite, 2005
Parasite, 2005Parasite  n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return.The Oxford Paperback Dictionary
Parasite by Andrée Weschler, 2005Parasite  n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return.The Oxford Paperback Dictionary 
Parasite, 2005
Parasite, 2005Parasite  n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return.The Oxford Paperback Dictionary
Black #02, 2010
Black #02, 2010Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010 Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010 Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010 Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010 Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black #02, 2010
Black #02, 2010 Performance Art Black #02 is part of a  series of performances using the colour black. The material for the performance  is a pair of  black stocking and red shoesThe initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist
Black#02 by Andrée Weschler, 2010Performance Art - Black #02 is part of a  series of performances using the color black. The material for the Performance Art is a pair of  Black Stocking and Red Shoes: "The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for me" 
Drawing 2005
Drawing 2005Watercolour Paper with Chinese Ink
Drawing 2005
Drawing 2005Watercolour Paper with Chinese Ink
Drawing, 2005
Drawing, 2005Watercolour Paper with Chinese Ink
Photo Library - 0002.jpg
Human Nature, 2003
Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.
Human Nature, 2003
Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasizing and enlightening the disarray of intimacy. 
Human Nature, 2003
Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.
Human Nature, 2003
Human Nature, 2003Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.
Between the Hair and the Stone, 2000
Between the Hair and the Stone, 2000Digital photographyThe hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler
Between the Hair and the Stone, 2000
Between the Hair and the Stone, 2000Digital photographyThe hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler
Between the Hair and the Stone
Between the Hair and the Stone Digital photographyThe hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.”Andrée Weschler
Between the Hair and the Stone by Andrée Weschler, 2000Solo Exhibition, Peppers Gallery, Tokyo 2000Music of Video: "Massive Attack-Teardrop (Theme Song) 
Amputation, 2006
Amputation, 2006Amputation is an installation of medical tools hypothesizing failure as the naissance of healing: one needs to be sick before one can heal. The installation’s tools belonged to Andrée’s family doctor who was simultaneously caregiver and spectator to her and her family’s lives. This work is done in his memory.
Amputation, 2006
Amputation, 2006Amputation is an installation of medical tools hypothesizing failure as the naissance of healing: one needs to be sick before one can heal. The installation’s tools belonged to Andrée’s family doctor who was simultaneously caregiver and spectator to her and her family’s lives. This work is done in his memory.
Amputation, 2006
Amputation, 2006Amputation is an installation of medical tools hypothesizing failure as the naissance of healing: one needs to be sick before one can heal. The installation’s tools belonged to Andrée’s family doctor who was simultaneously caregiver and spectator to her and her family’s lives. This work is done in his memory.
Amputation, 2006
Amputation, 2006Amputation is an installation of medical tools hypothesizing failure as the naissance of healing: one needs to be sick before one can heal. The installation’s tools belonged to Andrée’s family doctor who was simultaneously caregiver and spectator to her and her family’s lives. This work is done in his memory.
Amputation, 2006
Amputation, 2006Amputation is an installation of medical tools hypothesizing failure as the naissance of healing: one needs to be sick before one can heal. The installation’s tools belonged to Andrée’s family doctor who was simultaneously caregiver and spectator to her and her family’s lives. This work is done in his memory. 
Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure”Art and Healing - Fringe Festival 2006 - Singapore Art Museum
Poster for Amputation, 2006
Poster for Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure”
Amputation, 2006
Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Amputation, 2006
Amputation, 2006To heal you need to amputateCut yourself off from The gangrene that is eating you upGangrene is a person a thing a love a parasiteHealing is about violence“My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” 
Bit by Bit, 2008
Bit by Bit, 2008I slowly ageBit by bitHere and thereIn silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]
Bit by Bit, 2008
Bit by Bit, 2008 I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]
Bit by Bit, 2008
Bit by Bit, 2008 I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]
Bit by Bit, 2008
Bit by Bit, 2008 I slowly ageBit by bitHere and thereIn silence[Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee]
Relque Andree Weschler.jpg
The Sound of the Princess, 2004
The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000
The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 
The Sound of the Princess, 2004
The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000
The Sound of the Princess, 2004
The Sound of the Princess, 2004In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl“I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000
Wok, 2011
Wok, 2011Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound.Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.” 
Wok, 2011
Wok, 2011Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound.Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.” 
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