Five-legged Chicken

Cassandra Koh 

(Mixed media Installation)

The Five-legged Chicken has gone missing in Chinatown. Last seen around Kreta Ayer Square. We know of it from the Myths told on the radio and passed on by word of mouth. If seen please chase.

Artist Statement

Inspired by the emergence, disappearance and replacement of the Five-foot Way in Chinatown, Five-legged Chicken questions the invented existence of a five-legged chicken as a mascot of Chinatown’s Five-foot Way through a series of make-believe scenarios. Five-legged Chicken is a translated pun for the Five-foot Way in Chinatown, which acts as a satire that pokes fun of the ambiguities and absurdity of invented traditions in Chinatown.


Playful children of the Sago Lane

Ong Lijie

(Mixed-media illustration)

A illustrated glimpse into what would have been everyday life along Sago Lane.

Artist Statement

This project aims to look at the Sago Lane, 死人街 without eradicating the rich history and culture surrounding death and dying. Instead, to present an everyday scene pieced together from stories shared by the folks I spoke to about chinese death houses.

This series of mixed-media illustrations aims to translate the light hearted reality of the children whose families owned business related to the dead or dying along Sago Lane. I want to repetitively illustrate their playtime in their everyday environment amongst the symbols of death, their families’ sources of livelihood.


Collect 收 | 藏

Megan Miao 苗寒青

(Installation, ink on cloth)

The experience of wandering through Chinatown is imprinted upon the artist’s memory as images. Revealed through ink on muslin, floating in the breeze it will flow like a path through the five foot way.

Artist Statement

This is the collector’s edition of Kreta Ayer, made of images lost and found on walks, over and over again, through Chinatown Complex. Images are what we collect on our wanderings, translated through experience into memories of a place, of the way a place feels, of the way a place belongs and the way we belong to a place. In this work, you are invited to walk the five foot ways and experience the same objects you might have once seen, here shown again through the artist’s eyes. Afterwards, please walk the surrounding streets of Chinatown, to start your own collection.


Ah Jie.

Charmaine Poh 秀璇

(Photography in Installation)

A look into the lives of some of the surviving amah who live around Kreta Ayer Square using the approach of documentary photography.

Artist Statement

From the 1930s to the 1970s, a wave of female migrants, many from the Guangdong province of China, came to Singapore to seek work as domestic servants. They were known as amah, and often served in expatriate or wealthy families.

Going against patriarchal norms, these women were the breadwinners of their families back in China. Many never married, instead dedicating their lives to their work. Some of the amah took a vow of celibacy to signify their commitment. These amah were known as majie.

The amah served in households in Singapore until foreign domestic workers replaced this labour in the 1980s. There are few left; many have since passed away or have returned to China. A small number, in their 80s and 90s, continues to live quietly in Chinatown’s rental flats. This story is about them.



Ben Yap and Lim Cheng Jun


Peer into the world of opera on the back of a bicycle.

Artist Statement

 Opera-te (working title) is a collaboration effort between 2 visual artists: Ben Yap (Singapore) and Lim Cheng Jun (Brunei). In response to the exhibition theme, we present an installation in the form of cinema-on-wheels, a nostalgic throwback to the era when “mobile entertainment” roamed the streets of Singapore. The installation utilizes images from Mr. Kok’s collection of old photos of Chinese Opera performers in the 1960s and 70s. By combining elements of projection and lighting effects, Opera-te invite viewers to peep into the installation and witness the opera performers in their full glory, a celebration of a cross between theatre, life and art.



Hera (in collaboration with Kee Ya Ting)

(installation, mixed media)

Come have a seat on this installation of public structures in chinatown which have found use as public furniture. The street photographs of Kee Ya Ting are embedded on their surfaces.

 Artist Statement

Field is a series of public furniture pieces that draws inspiration from the movement of people in Chinatown’s public spaces. They recall situations which visitors and residents spontaneously make use of readily available structures to rest or occupy spaces.

Images of street photography are embedded in the artwork. They are layered with encaustic wax finishing that vaguely recalls the texture of the skin, referencing corpus — the “body” or a structure of ideas.

There are also texts inscribed informally on the surfaces of the artwork. These texts ruminate on the physical act of sitting, as well as the agency of bodies within an urban environment. Urban spaces tend to be dominated by larger discourses such as municipal planning and global economy; in response to this, the artwork accentuates human processes, contingencies, as well as the everyday. Visitors, residents and fellow artists are invited to sit on and make use of the artwork.


here the winds sing


(installation, mixed media)

A lantern made of personal and archival photographs, visible only when lit.

Artist Statement

in between our makeshift hand signs and my second-guessing attempts at speaking mandarin that one afternoon I had spend with you, i asked “what has changed the most?”

there was a long silence before you replied

“没有改变” (nothing changed) and 一切都变了 (everything changed)

we sometimes forget that the past and the present overlaps and do not exist on separate spheres. it is impossible to mark the end of the past and the beginning of the present. here the winds sing weaves the continuity of time in spaces, places and memories into a seamlessness



Wu Jun Han

(installation, mixed media)

Artist Statement

I practice visceral empathy in my work, i’ve always found it to almost

to be a requirement to feel how others do, be they fellow performers,

audience members, or subject matter. I also find myself to be an

interdisciplinary practitioner by necessity. Attempting unfamiliar

mediums and methods, i can’t help but use and muse on the process of

learning new things.

There must be some virtue to be the wilful amateur, and indeed, i am one.