Farizi Noorfauzi

Farizi Noorfauzi works at the intersection of media and performance, exploring his interests in trends in culture, specifically within the socio-cultural context of Singapore as an intersection of diasporic cultures. He approaches personal histories as an entry point to imagining past, present and future tropes of cultural identity, via recontextualising current assumptions and understandings of the self and each other.

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Kain Pelikat

Second Series + 9 Mar 2019 Stamford Arts Centre

3 pieces of kain pelikat (a traditional garment widely used across various Southeast Asian cultures) and a fishing rod – the artist attempts to exercise tropes of old Malay fishermen, akin to the period of when Singapore was once a fishing village, to the forefront of the performance. Recontextualising traditional but familiar motifs in Malay culture - unconventional usage of the garment, whistling an old classic Malay song (Getaran Jiwa by P. Ramlee) - the performance serves as an exploration of un-learning and re-learning one's relationship with their cultural history.

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Melayu Quintessensial

Sixth Series + 11 Jan 2020 Coda Culture

"I’m not the quintessential Malay, at least according to popular imagination."

The artist finds it important to situate the context of the performance as a reference to a time-specific article published in a Singaporean digital magazine, claiming to be an alternative narrative of the minority experience. The performance attempts multiple explorations on extremes of class relations and minority narratives, on voices of privilege and structural advantages, on ideas of self-awareness and irony.

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Learning to be nothing

Seventh Series +

25 April 2020

Online

There is a lot we can learn from the objects around us, in observing inanimacy, in being completely still, in adapting to a momentary state of stasis and suspension. Perhaps, in learning to be objects, we are able to re-appraise the meaning of sentience.