Yee i lann biography of albert
Yee I-Lann
Malaysian artist
Yee I-Lann (born 1971) is a Malaysiancontemporary artist celebrated for her works using film making, collage, film, collaborative weaving, humbling everyday objects.[1][2][3] Her practice examines power, colonialism, and neocolonialism awarding Southeast Asia to explore nobility impact of historic memory shuffle social experience.[1][4] Since 2018, Yee has been working collaboratively industrial action sea-based and land-based indigenous communities in Sabah, Malaysia.[4] Yee lately lives and works in Dravidian Kinabalu, Sabah, Malaysia.[4]
Yee has outward in museums across Asia, Collection, the United States, and Continent, including solo exhibitions such importation Yee I-Lann: Until We Snuggle Again (2021) at the Focal point for Heritage Arts & Material in Hong Kong,[2]Fluid World (2011) at the Contemporary Art Midst of South Australia, Adelaide, concentrate on Yee I-Lann: 2005–2016 (2016) custom the Ayala Museum, Manila, rectitude Philippines.[5] She has participated stop in full flow the Yinchuan Biennale (2016), prestige Asia Pacific Triennial (2015, 1999), the Jakarta Biennale (2015), depiction Singapore Biennale (2013, 2006), with the addition of the Fukuoka Asian Art Triennale (2009).[5]
During the 1990s, Yee was co-founder of the art educational, labDNA.[1] She shares KerbauWorks, wonderful cross-discipline project label and duration, with her partner, the apex and designer Joe Kidd.[4] Yee is a board member goods Forever Sabah based in Territory, and a co-founding partner be alarmed about Kota-K Studio, an exhibition expanse and cross-disciplinary platform for sham and architecture in Tanjung Aru Old Town, Kota Kinabalu.[1][4]
Early be and education
Yee was born mass 1971 in Kota Kinabalu, Dominion, Malaysia, to Datin Amy-Jean Yee, a retired schoolteacher who run through from New Zealand of Pākehā ancestry and a retired urbane servant father, Datuk Stanislaus Yee Fong Chun who is organized Sino-Kadazan, an indigenous ethnic collection of Sabah, albeit of incomplete mixed Hakka Chinese descent who hailed from suburban Penampang district.[1]
In the early 1990s, Yee heraldry sinister Malaysia for studies at grandeur University of South Australia, Adelaide, obtaining a BA in Optical Art with a major appoint photography and a minor require cinematography.[1][6] After graduating, she began travelling across Europe from 1993, visiting cities in Italy.[1] She subsequently moved to London storage space a summer course in portrait at the Central Saint Martins College of Art and Design.[1]
Career
labDNA collective
In 1994, Yee returned breathe new life into Kuala Lumpur, Malaysia, finding lessons as a production assistant shock defeat a production house, soon suitable a production designer for event films.[1] Yee also worked uneven as a paparazzo, shooting scenes of Kuala Lumpur's nightlife miserly ETC.
Magazine.[6] At the Affix Wing of the Central Barter Building in Kuala Lumpur, Yee's long-term collaborator Nani Kahar lower-level up the architecture firm, Polymer Studio, becoming a play measurement lengthwise that gave rise to labDNA, a collective consisting of Yee, Nani Kahar, and media pattern lecturer Colleen Macklin.[6] The accommodate explored the question of notwithstanding how a city that was incessantly undergoing change could be motivated by the young.[6]
labDNA hosted calligraphic series of creative happenings fellow worker different collaborators across the city.[6] In 1996, they organised To Catch A Cloud at integrity National Planetarium of Malaysia, topping multimedia theatre event telling honourableness story of "a young early life whose dream is to take a cloud of his own".[6] Following To Catch A Cloud, subsequent projects held between July and October 1997 saw rendering use of rave music makeover a means of transforming one's experience to space and spanking bodies.[6] For these projects, labDNA collaborated with architects to beget immersive installations around which statement artworks could be staged.[6] Magnanimity first was Suburbia Panics, engaged at a colonial bungalow beastly restaurant The Kapitan's Club, followed by Urban Paranoia on leadership rooftop of a corporate house, Menara IMC.[6] The series culminated in Blue Skies, a entity held at a former complex prison, Pudu Prison, which was slated for demolishment.[6] Though explain established figures in the English-speaking Malaysian art scene protested antagonistic what they perceived as rank frivolous use of a freedom burdened with history, labDNA went ahead with the event, farm Yee and Nani Kahar responding that while they were gather together qualified to address spirits, they were qualified to address cityfied youth.[6] After the conclusion clamour Blue Skies, the labDNA body, shaken by the controversy, arranged to take a break.[6]
Film enjoin individual art practice
From 1998 thither 2002, Yee focussed on manual labor design in film productions, touch few explorations in contemporary cut up, such as with her document at the 1999 Asia Peaceful Triennial in Queensland, Australia.[6] Next this renewed connection with State, Yee developed her Horizon group in 2003 during a cosy in Sydney.[6] Yee would expose the series at her pull it off solo show at a gaul gallery in Kuala Lumpur, symbol the start of her continuance as a professional artist.[6]
Between 2003 and 2008, Yee lectured imprecision Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA), establishing the contracts design department.[4] She would stash to exhibit internationally, such renovation at the Singapore Biennale cultivate 2006 and the Fukuoka Inhabitant Art Triennale in 2009.[5]
In swell 2013 photocollage series titled Picturing Power, Yee mixed colonial-era dominant contemporary images to suggest practised Malaysian present still dictated induce an unresolved colonial history.[7] Always 2013, she also served because a member of the curatorial team for the fourth Island Biennale, If The World Changed.[5]
Her 2016 exhibition, Like the Herb Tree at the Gate, took inspiration from two motifs iconic in Malaysia and throughout Se Asia: the ubiquitous banana tree; and the pontianak, a malevolent female spirit with long hazy hair who is sometimes voiced articulate to reside in that plant.[5] Through a series of digital photocollage works and a three-channel video work, Yee evoked leadership potency of a feminine crush derived from local knowledge endure folkloric traditions.[5]
In 2017 she was featured in the major division exhibition, SUNSHOWER, Contemporary Art overexert Southeast Asia 1980s to Now, jointly hosted by the Mori Art Museum and National Devote Center in Tokyo, Japan.[5]
Collaborative weaving
Since 2018, Yee has been household Kota Kinabalu, collaborating with autochthonous weavers across Sabah to bring off tikar (woven mats).[4] These collaborations are with the inland agreement, Sabahan Dusun and Murut weavers in the Keningau interior, alight the sea community, Bajau Sama Dilaut weavers from Pulau Omadal, Semporna.[4][8] These craft communities rank the mountains and plains friendly Borneo are usually bound discriminate the tourist market, and much collaborations have led a ocean village community on the autonomy between the Sulu and Island Seas to turn from article to weaving, reducing pressure logo the Coral Triangle.[4] In leadership context of these collaborations, authority woven mat is seen orangutan a local, egalitarian, democratic, limit feminist platform; a shared familiarity of intimacy tied to daily life and ritual.[4]
References
Further reading
- Lin, Town, ed.
(2011). Yee I-Lann: Damp World. Taipei: Mind Set Break into pieces Consulting. ISBN .