Taken from a line off Wim Wender’s film, Kings of the Road, the work is a reflection of dominant soft power strategies and effects employed by nation states in the name of cultural diplomacy. Where Singapore has triumphed in its diplomatic relations throughout the world with culture as a growing pivotal tool, I parallel these activities to strategies employed by the US during the Cold War. Where Jazz music became a crucial medium to not only wipe clean the growing anti-American sentiments throughout the world post Hiroshima, it was also important to project a predefined concept of freedom (both intellectual and expression) through the promise of democracy, an ideology that proves to be, not just politically and morally superior, but also the antithesis of Soviet Communism. As an instrument that’s mounted on the wall, I had designed and tuned the instrument to messy, irregular intervals, crossing the strings against one another to illustrate the dissonances of cultural appropriation, considering the future of mainstream music that would surface within Singapore out of the present exponential affects and interests of globalisation.
Enamel paint, electric guitar & bass pickups, machine heads, bridge, electric guitar and bass strings on wooden planks
120cm x 39cm x 2cm (x2)