FOST Gallery, Singapore

Following up on my earlier post on Jason Lim’s Long Decay at Gillman Barracks, do catch the exhibition before it closes in a few weeks time. The exhibition has been running from 11 April to 30 May. Special thanks to @jasonlimartist and @fostgallery for the invitation to research and work on this project. My curatorial essay, “Long Decay: Resonance as Archive”, stems largely from conversations with Jason about his practice and my interest in (independent) art spaces, performativity, and installation art where Three Tonnes of Clay(1995), the performance-installation Jason Lim presented at The Substation, persists as an enigmatic activation of the art space and spectators. It is also from here that ceramics and its material politics has also become an area of research I am currently exploring further in a separate paper this June for the Ceramics Research Centre-UK. I look forward to sharing more as the research develops. The essay can also be read online via Issuu: issuu.com/fostgallery/docs/long_decay_dossier More information: fostgallery.com Sharing here a few photographs taken during the opening, where Jason Lim activated the exhibition through performance.

“I learned to crochet in art school, initially to make fabric sculptures, and it has stayed with me ever since — through more sculptures, and through durational performances where the act of making became the work itself. My crochet hook is my oldest tool. For me, crocheting has always been about time: the slow accumulation of loops, the rhythm of repetition. But it is also about material intimacy — something familiar in the hand, and something that bears the trace of the hand.” Happy Birthday to Bea Camacho @ibea.camacho ! Wishing you another great year woven from meaningful encounters, fulfilling work, and moments that stay close to the hand and heart. Image 2-4 Efface 2008 Single-channel video 11 hours Image 5 Artist Portrait 📸: Neal Oshima #fostgallery #beacamacho #performanceart #crochet #contemporaryart

The video component of Yingge forms part of the broader Tintinnabulation series, extending the artist’s inquiry into resonance into the register of the moving image. If the ceramic bells shape sound through vibration, the video becomes another vessel through which resonance unfolds. Here, sound, memory, and landscape circulate together. The work does not simply document the bells; it listens through the spaces in which they were made. In this sense, the video operates less as representation than as a chamber of mediation, where sound, image, and duration are allowed to linger. The term “tintinnabulation”, popularised by Edgar Allan Poe in The Bells (1849), evokes the ringing and reverberation of bells as both a sonic and existential condition. Here, it names not simply sound, but the atmosphere of ringing itself - the lingering aura of vibration that persists after the source has fallen silent. Long Decay 11 April – 30 May 2026 Exhibition Essay written by Dr. Adrian Tan @adriantanpc Jason Lim Yingge 2024 Ceramics, wood, stone, rubber, waterproofing tape and medical gauze, performance documentation and single-channel video (00:06:44) Dimensions variable (installation) @jasonlimartist Images by @lavchang #ceramics #resonance #performanceart #jasonlimartist #fostgallery

From the Tintinnabulation series, Yingge features 5 ceramic bells and a video of a sound performance, exploring resonance as both a material and emotional condition. Rooted in traditional ceramic practice and shaped through hand-building, firing, and attentive listening, the work investigates how clay can become a vessel for vibration and how earth might hold air. The bell form draws distant inspiration from ritual bronze bells of the Shang dynasty, instruments once used in ceremony and communication. Unlike those ancient metal bodies, these bells are made of clay, fragile and human-scaled. They do not proclaim authority; they invite proximity. Each is hand-formed through coiling and slab-build, its thickness determining tone. Fired in oxidation, the surface retains the quiet integrity of ceramic lineage. Long Decay 11 April – 30 May 2026 Jason Lim Yingge 2024 Ceramics, wood, stone, rubber, waterproofing tape and medical gauze, performance documentation and single-channel video (00:06:44) Dimensions variable (installation) @jasonlimartist Images by @lavchang #ceramics #resonance #performanceart #jasonlimartist #fostgallery

Congratulations to Lavender Chang @lavchang for being part of Passion Is Volcanic: Desire In Southeast Asian Art at National Gallery Singapore @nationalgallerysingapore , curated by Dr Adele Tan and Dr Kathleen Ditzig. Across 70 artworks from Southeast Asia, the show examines how depictions of the body and pleasure have changed over time. Lavender Chang will be showcasing her series Dissolving into the Same Breath, featuring couples in China in acts of physical intimacy, abstracted by long exposure into ephemeral blurs of activity. These works touch on topics of human desire and surveillance, as well as the pressures of censorship. The exhibition is on view 24 April to 30 August. The exhibition is R18. Image 1 Lavender Chang Dissolving into the Same Breath 1 2024 Fine art archival print Image 2 Lavender Chang Dissolving into the Same Breath 2 2024 Fine art archival print Image 3 Lavender Chang Dissolving into the Same Breath 3 2024 Fine art archival print #lavenderchang #fostgallery #contemporaryart #contemporaryartsingapore #nationalgallerysingapore

"This has been with me through every painting I have made. I hold it with my left hand, to keep the paint from drying up, while my right hand moulds the pigment with a chosen apparatus. Recently it’s been choking and having difficulties dispersing efficiently. It’s kind of in its last leg. Well my birthday is coming up, I see it’s time to treat myself to a new dispenser." Happy Birthday to Ian Woo @ianwoo67 ! Here’s to fresh tools, smooth flow, and even greater masterpieces ahead. Image 2 Ian Woo Egyptian dance (After Bridget Riley) 2023 Acrylic on canvas H160 x W155 cm Image 3 Artist Portrait 📸: Kenji Takahashi #fostgallery #ianwoo #abstractpainting #singapore #contemporaryart

Marking the introduction of a dedicated performance sector at ART SG, Singaporean artist John Clang (b.1973) showcased a trio of works blending installation and performance: 'Reading by an Artist' (2023—), 'Nine Chairs' (2025—), and 'Table of Inquiry' (2025—), delving into themes of astrology, ritual, and domesticity to create intimate encounters that inspire communal reflection and evolving dialogue.⁠ ⁠ These works were presented as part of PLATFORM, ART SG’s sector for dynamic, large-scale and site specific installations and performances presented across the fair. Presented by Fost Gallery (@fostgallery ).⁠ ⁠ The next edition of ART SG will be held from 22 to 24 January 2026 (VIP Preview and Vernissage 21 January) at Marina Bay Sands.⁠ ⁠ Pictured:⁠ John Clang,“Reading by an Artist (…)” 2025 (ongoing). Performance with table, hand-written canvas, and weighted nine stones John Clang, “Nine Chairs” 2025 (ongoing). Found chairs.⁠ Installation view at ART SG 2026. Presented by Fost Gallery.⁠

Thank you to everyone who joined us for the opening reception of Long Decay and the performance / livestream of Yingge last weekend! The exhibition will run until 30 May 2026. @jasonlimartist @fostgallery #ceramics #resonance #performanceart #jasonlimartist #fostgallery

Jason Lim @jasonlimartist will be performing Yingge at the gallery tomorrow Saturday 11 April 2026 at 4pm, during the opening reception of his solo exhibition Long Decay. The performance will also be livestreamed on Instagram via @@jasonlimartist and @fostgallery . #ceramics #resonance #performanceart #jasonlimartist #fostgallery

FOST Gallery is delighted to present Long Decay, a solo exhibition by Jason Lim and his first with the gallery. Opening Saturday, 11 April with a performance by the artist at 4pm. The show takes its title from an acoustic condition — the length of time a vibration continues after its source has fallen silent. In this exhibition, resonance is not approached as volume or spectacle, but as duration: what remains, what lingers, what refuses immediate disappearance. Across ceramic sculpture, video and drawing, decay is not understood as loss, but as a measure of time. Clay remembers fire; sound remembers touch; the body remembers listening. Long Decay attends to these lingering states, where meaning does not arrive all at once but unfolds slowly, through sustained attention and the willingness to remain with what is fading. Rather than asking what sound produces, Lim asks how long it stays and what it leaves behind. Exhibition Essay Dr. Adrian Tan @adriantanpc @fostgallery #ceramics #resonance #performanceart #jasonlimartist #fostgallery

"The oldest tool in my studio is a box of oil pastels I won at an art competition in primary school. It was one of those small activities that was part of a festival but that trivial accomplishment probably became one of the many factors that piqued my interest in art making very early on. While I seldom use oil pastels in my work nowadays, this set remains an important part of my childhood and inspires me to continue what I do." Happy birthday to Jodi Tan @jd_tn ! May your year be saturated with happy hues and tones. Image 2 and 3 Jodi Tan Still Life #141 2019 Acrylic on paper H76 x W56.5 cm (artwork) H89 x W69.5 x D3 cm (frame) Image 2 by @lavchang #joditan #fostgallery #painting #singapore #singaporeart

Last weekend to catch Mirrorball: Reflections on Portraiture! The show runs until tomorrow, 14 March 2026. @ibea.camacho @jchanww @lavchang @kraychen @johnclang @elynnjo Images by @lavchang #fostgallery #mirrorball #portraiture #beacamacho #jonchan #lavenderchang #kraychen #johnclang #joannelim