Opening with footage of an accident captured from a dashcam, the performance considers how the accident—or crisis—becomes legible in a risk-managed and financially hedged era.
Of special interest is the logic of “horizon scanning” that undergirds the foresight programs of the Singapore government. As a crucial node along the electronic circuits of global finance as well as the sweaty regional routes crossed by disenfranchised migrant labor, Singapore is held up in the lecture as a privileged site. In this location, the disturbances or “weak signals” that crop up on the horizon are attended to, from which a fantastic speculative economy—populated by the likes of “black swans” and “dragon kings”—is produced to affirm some narratives while extinguishing others.
Ho Rui An is an artist and writer working in the intersections of contemporary art, cinema, performance, and theory. He writes, talks, and thinks around images, with an interest in investigating their emergence, transmission, and disappearance within contexts of globalism and governance. He has presented projects at the 2nd Kochi-Muziris Biennale in Kerala, India; TPAM Performing Arts Meeting, Yokohama; Hessel Museum of Art and CCS Bard Galleries in Annandale-on-Hudson, NUS Museum, Singapore; QUT Art Museum, Brisbane; the Serpentine Galleries, London; NTU Centre for Contemporary Art, Singapore; LUMA/Westbau, Zürich, and Para Site, Hong Kong. He is the Singapore desk editor for ArtAsiaPacific, and a contributor to numerous publications.