https://afrosoutheastasia.cargo.site To A Faraway Friend Mon, 11 Jul 2022 16:10:08 +0000 https://afrosoutheastasia.cargo.site en https://afrosoutheastasia.cargo.site/cast-but-one-shadow Wed, 29 Jun 2022 00:43:05 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/cast-but-one-shadow 24 September 2021-15 January 2022Artists Lesley-Anne Cao︎︎︎ Fyerool Darma︎︎︎ Jean Claire Dy︎︎︎&nbsp; bani haykal︎︎︎ Ariko Ikehara︎︎︎ Tuan Andrew Nguyen︎︎︎ Elia Nurvista︎︎︎ Ahmad Fuad Osman︎︎︎ Sim Chiyin&nbsp;︎︎︎ Simon Soon and Munirah Mansoor︎︎︎ Isola Tong︎︎︎ Ming Wong︎︎︎ Yee I-Lann︎︎︎ Artworks from the Vargas Museum Collection︎︎︎Paintings from Diosdado Macapagal's Collection︎︎︎ Archives Macapagal's trip to Africa︎︎︎ Macapagal's Maphilindo︎︎︎ Speculative Archive of Maphilindo︎︎︎ Student-led demonstration (1965)︎︎︎ A Weekend with Richard Wright︎︎︎ African American Writers in SEA︎︎︎ Huey Newton’s Manila Chair︎︎︎ Blaxploitation films (1971-1974)︎︎︎ Apocalypse Now (1979)︎︎︎ All videos are courtesy of Jorge B. Vargas Museum and Filipiniana Research Center. Hosted at the UP Vargas Museum in Manila, Cast But One Shadow: Afro-Southeast Asian Affinities is the second exhibition of a long-term and iterative research project that situates Southeast Asia as a compelling coordinate to review the continued resonances of global solidarities. The exhibition pursues the thematic threads of racial presence, anti-colonial struggle, and the interventive ways of navigating colonial and neocolonial relations through Southeast Asia. The title of the exhibition is spun from a 1962 novella authored by Han Suyin, a Eurasian physician, novelist, and public intellectual with Chinese and Belgian parentage. It was one of the last books she published while living in Malaya. The exhibition focuses on the complex regional historical milieu that Han worked in as an important source of illumination in the history of archipelagic Southeast Asia and the discourses around geopoetic aspirations and geopolitical affinities. View Gallery︎︎︎Booklet︎︎︎&nbsp;Exhibition Opening︎︎︎ afrosoutheastasia︎︎︎ Supported by <img width="1903" height="1855" width_o="1903" height_o="1855" data-src="https://freight.cargo.site/t/original/i/9fb06e2a3d2e8abc60d7dd075ecd126ad39cd635e52b0080f035a0c9b4dd42bd/KONNECT-ASEAN-LOGO-Reverse-White.png" data-mid="146711856" border="0" src="https://freight.cargo.site/w/1000/i/9fb06e2a3d2e8abc60d7dd075ecd126ad39cd635e52b0080f035a0c9b4dd42bd/KONNECT-ASEAN-LOGO-Reverse-White.png" /> Hosted by <img width="1523" height="1573" width_o="1523" height_o="1573" data-src="https://freight.cargo.site/t/original/i/40a4dc858038d34f1de5ebf97f0fab5a8ca3aed5d4e066e71f5a01a52352f430/VM-logo-6-x-6-white.png" data-mid="146711857" border="0" src="https://freight.cargo.site/w/1000/i/40a4dc858038d34f1de5ebf97f0fab5a8ca3aed5d4e066e71f5a01a52352f430/VM-logo-6-x-6-white.png" /> @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosheader2 { font-family: 'KlangW01'; font-size: 21px; line-height: 0.5; } cbosbody { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 16px; line-height: 0.5; } https://afrosoutheastasia.cargo.site/ahmad-fuad-osman Fri, 01 Jul 2022 09:21:50 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/ahmad-fuad-osman Ahmad Fuad Osman Di suatu masa dulu..., 2016 - 2021 (ongoing) 16th century Ming bowls and spoon, snuff bottle, leather pouch, 13th century celadon bowl, 16th century Portuguese coins and China’s Malacca tin coins, Indo-Portuguese casket, Malacca code of law, vinyl, single-channel video Variable Dimensions Writing about Ahmad Fuad Osman, curator Shabbir Hussain Mustafa describes the artist’s practice as exemplary of the “aggregate”--“a method of working that activates anachronisms, collectivities, sympathies, and commonalities, bringing them all together in a single place as an articulation of the predicament of globalization.”&nbsp; Making use of archive, history, and fiction, Osman’s research-based practice traverses the terrain of the Malay archipelago, a region connected by the South China Sea and flanked by the Indian Ocean and the Western Pacific. For this exhibition, Osman presents two projects. The first project is a site-specific reiteration of his expansive research on Enrique de Malacca, Ferdinand Magellan’s Malay slave and his crew member in his attempt to circumnavigate the globe. Enrique was crucial in Magellan’s expedition to the Spice Islands, serving as a guide and interpreter. For this reiteration, Osman presents a selection of archival objects that flesh out the importance of Malacca, the place where Enrique was from, in the Age of Discovery during the 16th century. The second work expands on the Southeast Asian contexts of the Age of Discovery and looks at the life and time of Shaykh Yusuf of Makassar, a 17th century Sufi scholar who was exiled from Makassar to South Africa by the Dutch East India Company. Shaykh Yusuf was one part of the Orang Cayen, Muslim men of wealth and influence who were exiled to the Cape of Good Hope because of the threat they posed to the Dutch colonial administration. The Orang Cayen was instrumental in the formation of the Muslim community in the Cape, eventually known as “Cape Malay.” Osman presents in this exhibition his research in progress on the Cape comprising of video interviews of Makassar locals on the legacy of Shaykh Yusuf. Ahmad Fuad Osman (b. 1969 in Kedah, Malaysia) graduated with a BA in Fine Art from MARA Institute of Technology (UITM) in 1991. In the 1990’s Fuad was involved in the Malaysia film and theater industry, and this period influenced a shift in his artistic practice from Neoexpressionist painting to conceptual multi-disciplinary works encompassing installation, sculpture, print, and video. Socio-political themes have long been a key concern as he investigates subject matters including identity politics, the abuse of power, and historical amnesia. Recent years have shown a conceptual turn for Fuad with an interest in the veracity of truths, alternate histories, and contesting or reinterpreting of existing histories. This characteristic comes through in Recollections of Long Lost Memories (2007/2008), which won Jurors’ Choice Award at the APBF Signature Art Prize (2008) in Singapore, and his more recent work, Enrique de Malacca Memorial Project, shown in 2016 at the Singapore Biennale and shown again at the 2019 Sharjah Biennale. Drawing on historical accounts, texts, and archives, Fuad pieces together fragments of evidence and conflicting narratives, finding creative ways to fill in gaps. As such his recent practice not only reconsiders historical narratives, but opens up possibilities of contesting and rewriting established canons. Fuad has exhibited internationally including Blackout at Kunsthal Rotterdam 2019; Leaving The Echo Chamber, Sharjah Biennale 2019; An Atlas of Mirrors, Singapore Biennale, 2016; Multiple Languages, Silverlens Gallery, Makati, Philippines, 2014; Welcome to the Jungle: Contemporary Art in Southeast Asia From the Collection of Singapore Art Museum, Yokohama Museum of Art, Japan, 2013; and, participated in residencies including the Vermont Studio Centre, USA (2004), Goyang National Art Studio, South Korea (2005 – 2006) and Rimbun Dahan, Malaysia (2007 – 2008). His works can be found in the collections of National Visual Art Gallery (Malaysia), Petronas Gallery (Malaysia) and Singapore Art Museum, among others. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fda3185aae02a36d752f520d35b761113d50e0c7660a74e69e2694f0895900b5/IMG_8305.JPG" data-mid="146853375" border="0" src="https://freight.cargo.site/w/1000/i/fda3185aae02a36d752f520d35b761113d50e0c7660a74e69e2694f0895900b5/IMG_8305.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7c67c8eda4ecac51f6b954582c4db9b110c33681b15f994f626589103cb61a1a/IMG_8376.JPG" data-mid="146853380" border="0" src="https://freight.cargo.site/w/1000/i/7c67c8eda4ecac51f6b954582c4db9b110c33681b15f994f626589103cb61a1a/IMG_8376.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/5d36d06e9808ba5f4b390bdd6b7f0a9e3a70fb02c7ddeebba5ee9d6b18bc8a86/IMG_8327.JPG" data-mid="146853378" border="0" src="https://freight.cargo.site/w/1000/i/5d36d06e9808ba5f4b390bdd6b7f0a9e3a70fb02c7ddeebba5ee9d6b18bc8a86/IMG_8327.JPG" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/tuan-andrew-nguyen Fri, 01 Jul 2022 17:22:34 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/tuan-andrew-nguyen Tuan Andrew Nguyen The Specter of Ancestors Becoming, 2019 4-channel video installation: colour, 7.1 surround sound 28 minutes, Variable Dimensions The Specter of Ancestors Becoming (2019) is a four-channel video installation that expands on the legacies of&nbsp; Senegalese soldiers, or Tirailleurs sénégalais, that were deployed to Indochina to combat the Vietnamese uprising against French rule. After World War II, France sought to reestablish its colonial position in Indochina. Following unsuccessful negotiations for independence with the French in 1946, war broke out between Ho Chi Minh’s Viet Minh forces and French troops in the northern part of Vietnam. These troops would include the tirailleurs. The conflict would continue until the French defeat at Dien Bien Phu in 1954. This defeat would be described by&nbsp; Frantz Fanon as the beginning of the end of the French Empire. It would lead to the 1954 Geneva Conference and contribute to the American establishment of the Southeast Asia Treaty Organization that same year. The work is a collaboration with Vietnamese-Senegalese descendants, wherein personal family histories and artefacts are evoked through three dramatized stories. The stories capture the experience of Vietnamese women and their children who migrated to West Africa with Senegalese husbands who had been stationed in Indochina or of those who took their mixed-race children and left their Vietnamese wives behind. Written, read, imagined, and acted out by descendants, the stories also present the experience of these children as they face racial prejudice and the attempted erasure of their affinities to Vietnam, pointing to the fraught dynamics that structure the historical imagination of decolonizing societies, evolving&nbsp; over generations and spilling into the contemporary. Born in 1976 in Sai Gon, Viet Nam, Tuan Andrew Nguyen’s practice explores strategies of political resistance enacted through countermemory and post-memory. Extracting and re-working narratives via history and supernaturalisms is an essential part of Nguyen’s video works and sculptures where fact and fiction are both held accountable. Nguyen received a BFA from the University of California, Irvine in 1999 and an MFA from The California Institute of the Arts in 2004. Nguyen has received several awards in both film and visual arts, including an Art Matters grant in 2010 and best feature film at VietFilmFest in 2018 for his film, The Island. His work has been included in several international exhibitions including the Asia Pacific Triennial 2006, the Whitney Biennial 2017, and the Sharjah Biennial 2019. Nguyen founded The Propeller Group in 2006, a platform for collectivity that situates itself between an art collective and an advertising company. Accolades for the group include the grand prize at the 2015 Internationale Kurzfilmtage Winterthur for the film The Living Need Light, The Dead Need Music and a Creative Capital award for their video project Television Commercial for Communism. Besides a major traveling retrospective that began at the MCA Chicago, the collective has participated in international exhibitions including The Ungovernables (2012 New Museum Triennial), 2012 LA Biennial, Prospect3 (2014 New Orleans Triennial), and the Venice Biennale 2015. <img width="2890" height="1900" width_o="2890" height_o="1900" data-src="https://freight.cargo.site/t/original/i/7bc34191853e112b9ae1dcbdb8c834ae1dc337cff4bc1f9074ee99b8457df8b3/Screenshot-2022-07-02-at-1.27.29-AM.png" data-mid="146854458" border="0" src="https://freight.cargo.site/w/1000/i/7bc34191853e112b9ae1dcbdb8c834ae1dc337cff4bc1f9074ee99b8457df8b3/Screenshot-2022-07-02-at-1.27.29-AM.png" /> <img width="2914" height="1926" width_o="2914" height_o="1926" data-src="https://freight.cargo.site/t/original/i/8ed03660b8809d479ff0124376a47c98aa6fe00f9863b6a9ccf596c906d01e60/Screenshot-2022-07-02-at-1.27.40-AM.png" data-mid="146854475" border="0" src="https://freight.cargo.site/w/1000/i/8ed03660b8809d479ff0124376a47c98aa6fe00f9863b6a9ccf596c906d01e60/Screenshot-2022-07-02-at-1.27.40-AM.png" /> <img width="2914" height="1912" width_o="2914" height_o="1912" data-src="https://freight.cargo.site/t/original/i/f0e38af880b9887abe30667e1b5d3486932493ff40c521ed497bab342ddc26f6/Screenshot-2022-07-02-at-1.27.50-AM.png" data-mid="146854483" border="0" src="https://freight.cargo.site/w/1000/i/f0e38af880b9887abe30667e1b5d3486932493ff40c521ed497bab342ddc26f6/Screenshot-2022-07-02-at-1.27.50-AM.png" /> <img width="2914" height="1942" width_o="2914" height_o="1942" data-src="https://freight.cargo.site/t/original/i/5c9dea03aa570a5d6db5c9cef87572b9649a781ac66f0ea2a5a89a4f1534a3c9/Screenshot-2022-07-02-at-1.28.01-AM.png" data-mid="146854487" border="0" src="https://freight.cargo.site/w/1000/i/5c9dea03aa570a5d6db5c9cef87572b9649a781ac66f0ea2a5a89a4f1534a3c9/Screenshot-2022-07-02-at-1.28.01-AM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/Lesley-Anne-Cao Mon, 11 Jul 2022 15:12:06 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/Lesley-Anne-Cao Lesley Anne-Cao Fugue Encore&nbsp; 2021 Circular wooden display table, ai-generated and 3d-modeled plastic lingling-o variations, single-channel video Variable dimensions Lesley-Anne Cao’s practice involves interrogations of objects: from their making, use, circulation, and how these contexts might inform an object’s value and function. For her commissioned work for this exhibition, Cao looks at the social life of the lingling-o, a class of jade ornaments that have circulated across the South China Sea, mainland and maritime Southeast Asia, and Taiwan, which attests to the intimacies of what historian Eric Tagliacozzo imagines as the “Sino-Southeast Asian embrace.” Archaeologists have proven that the lingling-o traveled with the Austronesian language— from Taiwan to Polynesia to the Indian Ocean to Africa. Inspired by archaeologist Victor Paz’s method of “artifact assemblage,” she fabricates the artifacts using an AI-program that creates designs from a sampling of existing photographs and records of the objects. These designs are then modeled and are 3D-printed using plastic filament. What comes out of these processes is a selection of “inauthentic” artifacts that allude to the craftsmanship and the circulation of the lingling-o but nonetheless assume a spectral materiality in the form of a translucent, almost ghostly, replica. For Cao, “The work engages with the status of the lingling-o as a document of an open-ended history and as archival material. The generation of new images and objects based upon the lingling-o suggests that the archive is very much alive in the present, integral to the creation of new knowledge and methods of articulation.” Lesley-Anne Cao is a visual artist based in Quezon City, Philippines. Her practice is a series of divergent processes that explore the interplay of materiality, exhibition making, and fiction. Her work makes use of recognizable materials—books, plants, debris, precious metals, and money—towards the actualization and presentation of fictional objects and environments. Cao holds a BFA from the University of the Philippines College of Fine Arts - Diliman. Recent exhibitions include A song plays from another room at mo_ (2021) and Hard and soft prayers at The Drawing Room Gallery (2021). She has been granted artist residencies in Taiwan and Finland and has also presented work in Australia, South Korea, Hong Kong, and Indonesia. <img width="884" height="1452" width_o="884" height_o="1452" data-src="https://freight.cargo.site/t/original/i/e206f72459ea03b9d702f5690b666f680e16aed4679263b1c55c355436e7f21b/Screenshot-2022-07-01-at-7.58.55-PM.png" data-mid="147592657" border="0" src="https://freight.cargo.site/w/884/i/e206f72459ea03b9d702f5690b666f680e16aed4679263b1c55c355436e7f21b/Screenshot-2022-07-01-at-7.58.55-PM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/Jean-Claire-Dy Mon, 11 Jul 2022 15:19:34 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/Jean-Claire-Dy Jean Claire Dy Waves of Time and Sea 2021 Single-channel video, lucky cat figurines with audio 3 mins Variable dimensions Jean Claire Dy’s works look into trauma and histories of conflict, particularly in relation to the history of Mindanao, the southernmost island group of the Philippine archipelago. Her newly commissioned work for the exhibition considers the unique relationship of Sulu, a smaller archipelagic formation located in the southeastern tip of Mindanao, with China during pre-Hispanic times. According to recorded history, Paduka Batara, the Sultan of Sulu, visited the Ming Emperor Yong Le in Beijing in 1417. On the way back, the Sultan fell sick and died in Shandong. After an imperial burial, the Sultan’s sons were allowed to stay in China and intermarried with local Chinese. Dy takes two texts relevant to this history, namely, “a copy of Qing Emperor Qian Long’s reply to Sulu Sultan Muhammed Alimud Din’s request found in the document 476 of Veritable Records of the Qing Dynasty and the scroll with the imperial edict of Emperor Yong Le edifying the Sultan,” and creates an audiovisual installation that attempts to parse the lineations of this relationship, foregrounding a Filipino-Chinese dynamic that focuses on hospitality and diplomacy against the more contemporary tenor of Chinese neocolonial infringement on Philippine economic and maritime affairs. These considerations are read against modes of affinities that antedate national configurations and identities. The texts are translated into sound and video, sketching out an “imaginary space” that offers her the chance to explore the itinerant and performative conditions of both her Chinese-ness an Filipino-ness. She uses the ubiquitous lucky cat figurine, a good luck charm in the shape of a cat waving its paw that are usually displayed in most Filipino-Chinese-owned storefronts, to anchor her explorations of Filipino-Chinese identity, foregrounding how its performances and navigation is deeply embedded in popular culture and contemporary urban life. Jean Claire Dy is a Filipino-Chinese filmmaker, media artist, writer, and educator from Mindanao, Philippines. She holds a Masters degree in Media Studies and Film from the New School in New York which she completed under the Ford Foundation International Fellowships Program. She is currently a fellow of the Scottish Documentary Institute’s Connecting Stories Program. Claire’s full length documentary film A House in Pieces won the Golden Hercules Award at the Kasseler Dokfest in Germany and the Best Documentary Award at the Mimesis Documentary Film Festival in the US. Her video installations, experimental films, and media art works have been exhibited in various exhibitions in the Philippines and internationally. Her other films have been screened in various festivals worldwide. In 2021, she was an artist resident at the Belgrade Art Studio Online Residency Program. She will be commencing her PhD in Fine Arts and Music majoring in Film at the Victorian College of Arts of the University of Melbourne in 2022. <img width="1022" height="674" width_o="1022" height_o="674" data-src="https://freight.cargo.site/t/original/i/6cc473de10645ff02bc996b25c372ecb9146ecfdd5d135633e3a1f74a29b2a05/Screenshot-2022-07-11-at-11.37.23-PM.png" data-mid="147595241" border="0" src="https://freight.cargo.site/w/1000/i/6cc473de10645ff02bc996b25c372ecb9146ecfdd5d135633e3a1f74a29b2a05/Screenshot-2022-07-11-at-11.37.23-PM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/Fyerool-Darma Mon, 11 Jul 2022 15:27:36 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/Fyerool-Darma Fyerool Darma (featuring Efund, Tatteredemalion and Exoducks from reddit r/vexxilology) Flags for the failed 1963 Maphilindo Confederation 2021 Artist textiles, thread, wood, aluminium, and vinyl on wall, screen Variable dimensions Three Flags are triumphantly presented in this installation alongside a text that narrates an imagined text message exchange between the fictional character Don Anastacio (from Jose Rizal’s Noli Me Tangere, 1887) and Nyai Ontosoroh (from Ananta Pramoedya’s Bumi Manusia, 1980). Each flag is a different imagination of national representation of Maphilindo that Fyerool found on the internet. Each flag is a “fan art” imagined by an amateur artist with a utopian imagination of this short-lived solidarity between Malaya, the Philippines, and Indonesia, which officially lasted a month in 1963 and fell apart with Indonesian President Sukarno’s policy of Konfrontasi. Konfrontasi (1963–1966) was the stance adopted by Sukarno in relation to his opposition to the formation of the Federation of Malaysia consisting of Singapore, Malaya, Sarawak, and North Borneo (Sabah). This involved an openly hostile take against Malaysia’s independence seeing it as a British neo-colonial ploy. It also consisted of a diplomatic forestalling of the formation of the Federation within the context of Maphilindo negotiations and an unceasing military offensive in the frontier of Northern Borneo and covert military aid to Borneo “freedom fighters.” Maphilindo is generally viewed as an idealistic, failed dream for a pan-Malayan Southeast Asian regionalism. Fyerool critically gestures towards the limitations and lapses of a historical idealism mobilized to address contemporary disenfranchisement. Why does the internet warrior of today wistfully return to this failed dream through the creation of flags and markers of sovereignty? Fyerool’s selection of flags, which he painstakingly sews together to manifest the laboring over of this ideal, speaks to the contemporary resonance and muddling of this history. The seemingly celebratory presentation of the flags ironically asks the question, what do people remember of Maphilindo, and perhaps, the more implicit and important question, why does this contentious history continue to resonate? Fyerool Darma continues to live and work in Singapore. His object and material experimentations are based on an extensive visual vocabulary drawn from popular culture, literature, the archives, the Internet, and his own life. His work has been presented in group exhibitions such as As the West Slept, Silver ARTISTS Art Projects; Transient Museum of a Thousand Conversation: LIR at ISCP (International Studio and Curatorial Program), both in New York, United States; Lost and found: Imagining new worlds, Institute of Contemporary Arts Singapore (all in 2019) and An Atlas of Mirrors, Singapore Biennale (2016), and his long-term project After Ballads, NUS Museum, Singapore (2017-8). He was Artist-in-Residence (1 October 2019 – 28 April 2020) at NTU - Centre of Contemporary Arts where he presented Vivarium (wiifl∞w w/ l4if but t4k£ ø forms, ♥) at the Centre’s Vitrine. <img width="1010" height="1658" width_o="1010" height_o="1658" data-src="https://freight.cargo.site/t/original/i/07a108700ec26d9352bf415406e8e85ac0f7f6a9bed5c2b76067aa35ce7cbef2/Screenshot-2022-07-11-at-11.36.24-PM.png" data-mid="147595174" border="0" src="https://freight.cargo.site/w/1000/i/07a108700ec26d9352bf415406e8e85ac0f7f6a9bed5c2b76067aa35ce7cbef2/Screenshot-2022-07-11-at-11.36.24-PM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/bani-haykal-1 Mon, 11 Jul 2022 15:37:52 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/bani-haykal-1 bani haykal “We’re not satisfied with just making a noise.” 2021 Mixed media installation comprising of a 3D-printed clarinet and a multi-channel audio installation&nbsp; Variable dimensions Based on bani’s research into the history and affect of the Cultural Cold War through jazz in Southeast Asia, “We’re not satisfied with just making a noise.” is inspired by a performance on December 27, 1956 in Singapore by Benny Goodman, an American jazz clarinetist and bandleader known as the “King of Swing” who led racially integrated jazz groups. The title of the art work is from a response Goodman gave when he was asked why his repertoire did not contain Rock n’ Roll music. Prior to Goodman’s arrival in Singapore, he sent a replica of his clarinet to Runme Shaw to show his appreciation to the members of the Musician’s Union of Singapore. For bani, the clarinet was not only a symbol of friendship but also of the Cultural Cold War, which was in part defined by the anti-communist prerogative of American foreign policy. American policy makers began to appropriate black cultural products like jazz to make the argument that American democracy enabled creativity and to downplay American racism. The US State Department arranged the travel of African American Jazz “diplomats” like Dizzy Gillespie, Louis Armstrong, and Duke Ellington. Such cultural programs were important for American diplomacy of the 1950s in Southeast Asia, where a wave of independence and solidarity movements were informed by anti-colonialism and anti-racism. Bani identifies the clarinet as an exceptional jazz instrument that becomes an object of disruption. Characterized as the most dynamic and sounding the most human, the clarinet is capable of not only producing loud, piercing tones, but also gentle, mellow, and soothing sounds. Represented through a 3D-printed replica, Goodman’s clarinet is deconstructed and presented in this installation suspended in a grey soundscape that is an abstraction of the old Badminton Hall where Goodman gave his performance. Bani’s research into American Jazz diplomacy points to the duplicitous history of jazz mobilized as an ideological instrument of anti-communism used to bring people into a “Free World” empire of American democracy and capitalism. Thus, his work can be read as a critical homage to the innocuous sounds of empire and the everyday humanity and idealism (associated with both race and music) that were deployed to geopolitical ends. As an artist, composer, and musician, bani considers music (making /processes) as material and his projects investigate modes of interfacing and interaction with feedback/ feedforward mechanisms. He is a member of b-quartet. Manifestations of his research culminate into works of various forms encompassing installation, poetry, and performance. In his capacity as a collaborator and a soloist, bani has participated in festivals including MeCA Festival (Japan), Wiener Festwochen (Vienna), Media/Art Kitchen (Indonesia, Malaysia, Philippines, and Japan), Liquid Architecture, and Singapore International Festival of Arts (Singapore), among others. His current work frames encryption as a process and basis for human-machine intimacy by navigating interfaces such as a QWERTY keyboard as mediums of interactivity. <img width="1008" height="1668" width_o="1008" height_o="1668" data-src="https://freight.cargo.site/t/original/i/e05f3b0383cb456c98e932dcbe4894af27a04d6a5daca178702b3e53a6aee2f4/Screenshot-2022-07-11-at-11.44.40-PM.png" data-mid="147596497" border="0" src="https://freight.cargo.site/w/1000/i/e05f3b0383cb456c98e932dcbe4894af27a04d6a5daca178702b3e53a6aee2f4/Screenshot-2022-07-11-at-11.44.40-PM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/ariko-s-ikehara Mon, 11 Jul 2022 15:45:40 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/ariko-s-ikehara Ariko S. Ikehara Sketches of Teruya Ar(t)chive 2021 Mixed media installation featuring 3 maps, photographs and video Variable dimensions This installation is based on Sketches of Teruya (January-March 2020), an exhibition that Ikehara developed and presented for Koza X MiXtopia Research Center, an independent art and research space she opened in Teruya, Okinawa. It features updated maps of Teruya, a district in Okinawa that thrived economically after World War II in the shadow of the American Occupation of Okinawa (1945-1972). Functioning as both art work and archive, Ikehara’s maps are a form of “miXtory,” a term she uses to describe her methodology of weaving together the meta-narratives of history, personal stories, and the gaps or questions that emerge between history and memory. Ikehara describes this interplay in the map as performative, referring to the map as “an object that solicits the viewer into action [by] filling the gap of what is missing on the map, and translating the personal miXtory into material forms, i.e., [turning] object, event, performance into an archive.” Teruya represented three economic zones, which were active for more than twenty-three years after the American occupation from 1952 to 1976: Honmachi Dori, a shoppingdistrict; Koza Ichiba, a market district; and the Black District, a bar and entertainment district. The latter district served African American soldiers in the military. During this time, Teruya’s mixed racial, ethnic, cultural, linguistic, and national geography also included people who were Japanese, Chinese, Vietnamese, Italians, Indians, Koreans, Filipinos, and the children of mixed-racial ethnicities. Postwar economic opportunities offered to foreigners in constructing the American military bases and other business ventures drew a diverse range of people to Teruya. Through their will to survive and thrive, they created what Ikehara describes as a postwar economic miracle. They created, in her words, “a community in which everyone had a chance of making, creating, and imagining how to live in the company of others while negotiating difference.” Ikehara grew up in Teruya and some of the locations on the map are based on her memories, interviews, and what she calls “yuntakuviews” (yuntaku translates to “chatting” in Okinawan). Ariko S. Ikehara is Director at Koza X MiXtopia Research Center in Okinawa. She earned her Ph.D. in Comparative Ethnic Studies at the University of California, Berkeley, in 2016. She was a Postdoctoral Fellow at Osaka University (2017-19) and a Visiting Scholar in the Department of Gender and Women Studies at UC Berkeley (2016). Her peer-reviewed publications include “Champuru Text: Postwar Okinawan Writing,” in Beyond American Occupation: Race and Agency in Okinawa, 1945-2015 (2017), and “Third Space as Decolonial Con/Text: Okinawa’s American Champuru,” in Transnational Asia: An Online Interdisciplinary Journal 1, no.1 (Fall 2016). Since 1995, she has published essays and articles in Japanese about Teruya in Okinawan journals and local Okinawan newspapers. She is currently working on two book projects: a two volume book manuscript in Japanese and English with the working title, A Book of Teruya, and a book manuscript in English with the working title Okinawa’s MiXtopia: Teruya Soul MiXtory, which is a choreographic study of Teruya. <img width="1020" height="662" width_o="1020" height_o="662" data-src="https://freight.cargo.site/t/original/i/13060a02b5ce7936adb375714e478052ec0156401cba3f9918e7b5040bf691f3/Screenshot-2022-07-11-at-11.51.51-PM.png" data-mid="147596987" border="0" src="https://freight.cargo.site/w/1000/i/13060a02b5ce7936adb375714e478052ec0156401cba3f9918e7b5040bf691f3/Screenshot-2022-07-11-at-11.51.51-PM.png" /><img width="1012" height="668" width_o="1012" height_o="668" data-src="https://freight.cargo.site/t/original/i/5babcf91b4a219f14a611b609bb8d9f99da81c6d973058fc9f49506ce0fef124/Screenshot-2022-07-11-at-11.52.01-PM.png" data-mid="147597008" border="0" src="https://freight.cargo.site/w/1000/i/5babcf91b4a219f14a611b609bb8d9f99da81c6d973058fc9f49506ce0fef124/Screenshot-2022-07-11-at-11.52.01-PM.png" /><img width="2418" height="1614" width_o="2418" height_o="1614" data-src="https://freight.cargo.site/t/original/i/3bc62fb8fb59d84cd2129f3122cc9bdef2138a2eb6817817d84b0c3ac399eb61/Screenshot-2022-07-11-at-11.52.15-PM.png" data-mid="147597011" border="0" src="https://freight.cargo.site/w/1000/i/3bc62fb8fb59d84cd2129f3122cc9bdef2138a2eb6817817d84b0c3ac399eb61/Screenshot-2022-07-11-at-11.52.15-PM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/elia-nurvista Mon, 11 Jul 2022 16:02:54 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/elia-nurvista Elia Nurvista Tremors Ground: A Study of the Land 2021 Mind map, rice sack installation, video with sound Variable dimensions Continuing her research on global politics of food, nurvista sets out to entangle discourses around hunger, food technology, food policy, and transregional narratives of cooperation and aid into the larger matrices of geopolitics and indonesian national and transnational history. For her work in the exhibition, nurvista frames these questions within the political shifts that transpired during sukarno’s leadership. Nurvista’s work speculates on the nodes and linkages of the meshwork that constitute the global food world: from the threat and specter of communism, the prospects of a non-aligned movement, anti-colonialist projects, and aspirations of national development. From a mind map of events, programs, and initiatives that affected southeast asian food sovereignty, to a selection of archival footages of political action related to these, and an installation that interrogates the political tenor of rice and agricultural crops in indonesian political history, nurvista believes that “small narratives and historic trivia are connected and have trajectories that move among one another, shaping what we understand as big global stories.” Elia Nurvista (b. 1983) is interested in exploring a wide range of art mediums with an interdisciplinary approach and focus on the discourse of food. Through food, she scrutinizes power, as well as social and economic inequality in this world. In 2015 she initiated Bakudapan food study group with colleagues from different disciplines such as anthropology and philosophy. Bakudapan is guided by principles of complementarity and camaraderie between the members. With Bakudapan she has conducted research on food within socio-political and cultural contexts. She has participated in several exhibitions including Dhaka Art Summit (2020), Karachi Biennale (2019), and the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA in Brisbane (2018), among others. She also curated The Biennale Jogja XVI: Equator #6 (Indonesia and Oceania) (2021); ADAM LAB at TPAC (Taipei Performing Arts Center) with Transient Collective (2020); and the solidarity platform Land, Water, Farming, Food: Struggle for Sovereignty, initiated by Bakudapan and Bodies of Power/Power for Bodies (2020/2021). She lives and works in Yogyakarta, Indonesia. <img width="1020" height="668" width_o="1020" height_o="668" data-src="https://freight.cargo.site/t/original/i/2f88a6836a4587d8683b5e3397df5bccafb5ec41e024a65f1ccfc12a513d34e1/Screenshot-2022-07-12-at-12.09.00-AM.png" data-mid="147598177" border="0" src="https://freight.cargo.site/w/1000/i/2f88a6836a4587d8683b5e3397df5bccafb5ec41e024a65f1ccfc12a513d34e1/Screenshot-2022-07-12-at-12.09.00-AM.png" /><img width="1010" height="672" width_o="1010" height_o="672" data-src="https://freight.cargo.site/t/original/i/a312550fcfaad2f3768ae2f6074c6b0fa45432b5bcfea30c2e6473c82b0f40f6/Screenshot-2022-07-12-at-12.09.10-AM.png" data-mid="147598181" border="0" src="https://freight.cargo.site/w/1000/i/a312550fcfaad2f3768ae2f6074c6b0fa45432b5bcfea30c2e6473c82b0f40f6/Screenshot-2022-07-12-at-12.09.10-AM.png" /><img width="2556" height="1700" width_o="2556" height_o="1700" data-src="https://freight.cargo.site/t/original/i/3b4ff04b427f28af7d6db4849fdaa4ae15f5812a2f0591dccbe0c0d3c9ba3aca/Screenshot-2022-07-12-at-12.09.25-AM.png" data-mid="147598228" border="0" src="https://freight.cargo.site/w/1000/i/3b4ff04b427f28af7d6db4849fdaa4ae15f5812a2f0591dccbe0c0d3c9ba3aca/Screenshot-2022-07-12-at-12.09.25-AM.png" /> /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; } https://afrosoutheastasia.cargo.site/simchiyin Mon, 11 Jul 2022 16:10:08 +0000 To A Faraway Friend https://afrosoutheastasia.cargo.site/simchiyin Sim Chi Yin Interventions: Parachutes 2018Print on hahnemuhle photo rag 91cm x 61cmInterventions: Interrogation 2018Print on hahnemuhle photo rag 91cm x 61cm The two prints that Sim presents in Cast But One Shadow are part of her ongoing research project titled One Day We’ll Understand (2015-). The project examines historiographies of the Malayan Emergency (1948-1960) informed by a search for answers to her grandfather’s execution during this period. The Malayan Emergency was a guerrilla war between British and Commonwealth troops and the Malayan National Liberation Army (MNLA), the Malayan Communist Party’s (MCP) armed wing. It was a protracted conflict that ensued in the jungles, plantations, and villages of the Federation of Malaya. The MNLA fought for the independence of Malaya from the British Empire, designating the conflict as the “Anti-British National Liberation War.” Meanwhile, the British categorized it as an “Emergency” to underwrite insurance claims, since London-based companies did not cover costs arising from civil wars. The MNLA had an overwhelming Chinese membership, having gained the support of the ethnic Chinese population who lived impoverished lives at the outskirts of the cities. As part of the research behind her project and for the production of these images, Sim mined the British Imperial War Museum’s archive for the few images of the “communist insurgent.” She photographed prints and the negatives of images in the archive, merging verso and recto onto the plane of her image, bringing to light the annotations that have over the years defined these images and the positions they sought to represent. Scholars such as Max Houghton have credited this aesthetic strategy as laying bare “the operative logic of the colonial archive.” Sim’s “exposure” of the annotations on the photograph surfaces the idiom of the British propaganda that framed this anti-colonial struggle and invested discursive weight on words such as “banditry” and “emergency.” Sim’s series illuminates the complex narratives of this conflict which became the blueprint for combating insurgency around the world, playing a role in the Vietnam War as well as in other campaigns such as the British villagization schemes in Kenya. Elia Nurvista (b. 1983) is interested in exploring a wide range of art mediums with an interdisciplinary approach and focus on the discourse of food. Through food, she scrutinizes power, as well as social and economic inequality in this world. In 2015 she initiated Bakudapan food study group with colleagues from different disciplines such as anthropology and philosophy. Bakudapan is guided by principles of complementarity and camaraderie between the members. With Bakudapan she has conducted research on food within socio-political and cultural contexts. She has participated in several exhibitions including Dhaka Art Summit (2020), Karachi Biennale (2019), and the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA in Brisbane (2018), among others. She also curated The Biennale Jogja XVI: Equator #6 (Indonesia and Oceania) (2021); ADAM LAB at TPAC (Taipei Performing Arts Center) with Transient Collective (2020); and the solidarity platform Land, Water, Farming, Food: Struggle for Sovereignty, initiated by Bakudapan and Bodies of Power/Power for Bodies (2020/2021). She lives and works in Yogyakarta, Indonesia. <img width="1000" height="1050" width_o="1000" height_o="1050" data-src="https://freight.cargo.site/t/original/i/21fa6a4787a9a8eedb264880a7dd332c7e8faa90f4bfc198b14ec6185aaed87d/Screenshot-2022-07-12-at-12.17.16-AM.png" data-mid="147599313" border="0" src="https://freight.cargo.site/w/1000/i/21fa6a4787a9a8eedb264880a7dd332c7e8faa90f4bfc198b14ec6185aaed87d/Screenshot-2022-07-12-at-12.17.16-AM.png" /> <img width="1016" height="676" width_o="1016" height_o="676" data-src="https://freight.cargo.site/t/original/i/875a2aa1a7860d73773af728f79def71722052fae4c893dd1ab5c226e6ff858b/Screenshot-2022-07-12-at-12.18.06-AM.png" data-mid="147599347" border="0" src="https://freight.cargo.site/w/1000/i/875a2aa1a7860d73773af728f79def71722052fae4c893dd1ab5c226e6ff858b/Screenshot-2022-07-12-at-12.18.06-AM.png" /> Sim Chi Yin, Interventions: Interrogation, 2018. Sim Chi Yin, Interventions: Parachutes, 2018. <img width="938" height="680" width_o="938" height_o="680" data-src="https://freight.cargo.site/t/original/i/277d5b30b33f18b0158cc6bb13722f3fdc6f22a93b8d114c63aa0f38cbb612ea/Screenshot-2022-07-12-at-12.18.13-AM.png" data-mid="147599369" border="0" src="https://freight.cargo.site/w/938/i/277d5b30b33f18b0158cc6bb13722f3fdc6f22a93b8d114c63aa0f38cbb612ea/Screenshot-2022-07-12-at-12.18.13-AM.png" /> Sim Chi Yin, Interventions: Parachutes, 2018. /* Extra small devices (phones, 600px and down) */ @media only screen and (max-width: 600px) {...} /* Small devices (portrait tablets and large phones, 600px and up) */ @media only screen and (min-width: 600px) {...} @font-face { font-family: 'KlangW01'; src: url('https://files.cargocollective.com/c974285/Klang-W01.ttf'); } @font-face { font-family: 'NeueKabelW01'; src: url('https://files.cargocollective.com/c974285/Neue-Kabel-W01-Regular.ttf'); } cbostitle { font-family: 'KlangW01'; font-size: 48px; line-height: 1; } cbosheader { font-family: 'KlangW01'; font-size: 36px; line-height: 1; } cbosbody { font-family: 'NeueKabelW01'; font-size: 21px; line-height: 24px; } cbossub { font-family: 'NeueKabelW01'; font-size: 28px; line-height: 1; } cboscaption { font-family: 'NeueKabelW01'; font-size: 18px; line-height: 0.5; } cbosnav { font-family: 'KlangW01'; font-size: 18px; line-height: 1; }