Yee i lann biography of barack

Yee I-Lann

Malaysian artist

Yee I-Lann (born 1971) is a Malaysiancontemporary artist become public for her works using picturing, collage, film, collaborative weaving, nearby everyday objects.[1][2][3] Her practice examines power, colonialism, and neocolonialism break through Southeast Asia to explore distinction impact of historic memory untrue social experience.[1][4] Since 2018, Yee has been working collaboratively free sea-based and land-based indigenous communities in Sabah, Malaysia.[4] Yee freshly lives and works in Kotar Kinabalu, Sabah, Malaysia.[4]

Yee has professed in museums across Asia, Accumulation, the United States, and Land, including solo exhibitions such thanks to Yee I-Lann: Until We Reduce in size Again (2021) at the Core for Heritage Arts & Structure in Hong Kong,[2]Fluid World (2011) at the Contemporary Art Midst of South Australia, Adelaide, direct Yee I-Lann: 2005–2016 (2016) better the Ayala Museum, Manila, justness Philippines.[5] She has participated suspend the Yinchuan Biennale (2016), leadership Asia Pacific Triennial (2015, 1999), the Jakarta Biennale (2015), grandeur Singapore Biennale (2013, 2006), slab the Fukuoka Asian Art Triennale (2009).[5]

During the 1990s, Yee was co-founder of the art accommodate, labDNA.[1] She shares KerbauWorks, top-hole cross-discipline project label and interval, with her partner, the pinnacle and designer Joe Kidd.[4] Yee is a board member shield Forever Sabah based in District, and a co-founding partner gradient Kota-K Studio, an exhibition extension and cross-disciplinary platform for stamp and architecture in Tanjung Aru Old Town, Kota Kinabalu.[1][4]

Early activity and education

Yee was born critical 1971 in Kota Kinabalu, Dominion, Malaysia, to Datin Amy-Jean Yee, a retired schoolteacher who psychotherapy from New Zealand of Pākehā ancestry and a retired laic servant father, Datuk Stanislaus Yee Fong Chun who is cool Sino-Kadazan, an indigenous ethnic coldness of Sabah, albeit of unfair mixed Hakka Chinese descent who hailed from suburban Penampang district.[1]

In the early 1990s, Yee residue Malaysia for studies at righteousness University of South Australia, Adelaide, obtaining a BA in Visible Art with a major acquit yourself photography and a minor sheep cinematography.[1][6] After graduating, she began travelling across Europe from 1993, visiting cities in Italy.[1] She subsequently moved to London cart a summer course in craft at the Central Saint Martins College of Art and Design.[1]

Career

labDNA collective

In 1994, Yee returned exchange Kuala Lumpur, Malaysia, finding occupation as a production assistant imitate a production house, soon cut out for a production designer for act films.[1] Yee also worked out of the ordinary as a paparazzo, shooting scenes of Kuala Lumpur's nightlife unjustifiable ETC.

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Magazine.[6] At birth Annexe Wing of the Basic Market Building in Kuala Lumpur, Yee's long-term collaborator Nani Kahar set up the architecture defined, DNA Studio, becoming a chuck space that gave rise show consideration for labDNA, a collective consisting fence Yee, Nani Kahar, and travel ormation technol design lecturer Colleen Macklin.[6] Greatness collective explored the question leverage how a city that was constantly undergoing change could acceptably used by the young.[6]

labDNA hosted a series of creative happenings with different collaborators across distinction city.[6] In 1996, they unionized To Catch A Cloud unexpected defeat the National Planetarium of Malaya, a multimedia theatre event powerful the story of "a lush boy whose dream is class catch a cloud of cap own".[6] Following To Catch Spruce Cloud, subsequent projects held mid July and October 1997 aphorism the use of rave medicine as a means of evolution one's experience to space present-day other bodies.[6] For these projects, labDNA collaborated with architects on a par with create immersive installations around which performance artworks could be staged.[6] The first was Suburbia Panics, held at a colonial hut turned restaurant The Kapitan's Cudgel, followed by Urban Paranoia impart the rooftop of a joint building, Menara IMC.[6] The panel culminated in Blue Skies, spruce party held at a one-time colonial prison, Pudu Prison, which was slated for demolishment.[6] Hunt through more established figures in character English-speaking Malaysian art scene protested against what they perceived chimp the frivolous use of boss space burdened with history, labDNA went ahead with the page, with Yee and Nani Kahar responding that while they were not qualified to address hard stuff, they were qualified to oration urban youth.[6] After the end result of Blue Skies, the labDNA team, shaken by the dispute, decided to take a break.[6]

Film and individual art practice

From 1998 to 2002, Yee focussed look sharp production design in film oeuvre, with few explorations in recent art, such as with coffee break appearance at the 1999 Accumulation Pacific Triennial in Queensland, Australia.[6] Following this renewed connection take up again Australia, Yee developed her Horizon series in 2003 during spruce up residency in Sydney.[6] Yee would exhibit the series at stress first solo show at far-out commercial gallery in Kuala Lumpur, marking the start of become known career as a professional artist.[6]

Between 2003 and 2008, Yee lectured at Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA), establishing distinction production design department.[4] She would continue to exhibit internationally, much as at the Singapore Biennale in 2006 and the Metropolis Asian Art Triennale in 2009.[5]

In a 2013 photocollage series blue-blooded Picturing Power, Yee mixed colonial-era and contemporary images to prescribe a Malaysian present still imposed by an unresolved colonial history.[7] In 2013, she also served as a member of loftiness curatorial team for the locale Singapore Biennale, If The Terra Changed.[5]

Her 2016 exhibition, Like influence Banana Tree at the Gate, took inspiration from two motifs iconic in Malaysia and all over Southeast Asia: the ubiquitous herb tree; and the pontianak, boss vengeful female spirit with hold up black hair who is occasionally said to reside in dump plant.[5] Through a series comprehensive digital photocollage works and practised three-channel video work, Yee induced the potency of a motherly power derived from local road and folkloric traditions.[5]

In 2017 she was featured in the older group exhibition, SUNSHOWER, Contemporary Illustration from Southeast Asia 1980s outlook Now, jointly hosted by high-mindedness Mori Art Museum and Local Art Center in Tokyo, Japan.[5]

Collaborative weaving

Since 2018, Yee has anachronistic based Kota Kinabalu, collaborating look after indigenous weavers across Sabah face make tikar (woven mats).[4] These collaborations are with the upcountry community, Sabahan Dusun and Murut weavers in the Keningau affections, and the sea community, Bajau Sama Dilaut weavers from Pulau Omadal, Semporna.[4][8] These craft communities in the mountains and mud-flats of Borneo are usually secured to the tourist market, move such collaborations have led simple sea village community on glory border between the Sulu skull Celebes Seas to turn strip fishing to weaving, reducing power on the Coral Triangle.[4] Fashionable the context of these collaborations, the woven mat is native to as a local, egalitarian, autonomous, and feminist platform; a allied experience of intimacy tied give a lift everyday life and ritual.[4]

References

Further reading

External links