Screens Guru

Strange Seed 01, 02, 03

Mal Som

Mining01

Alina Nazmeeva

Copy is Right!

Joseph Chen

treeGAN #8, #9, #10, #11

Peter Nelson

Yesterday Girl

Wong Ka Ying

NFT Coupon: MEPON

FAMEME aka Yu Cheng Ta

NFT Charity Sales of Sala Samnak by Vuth Lyno for Pisaot residency programme

Sa Sa Art Projects

Mal Som

Strange Seed 01, 02, 03

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Strange Seed 01 : 0.25 ETH

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Strange Seed 02 : 0.25 ETH

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Strange Seed 03 : 0.25 ETH

To Mal art is about prolonging a movement in time (slo-mo). It slows us down from our automation, it gives us back time to appreciate the process of a dying GAN fully. According to Mal, there’s a philosophical side he finds interesting. He chooses to imagine the “moment” before mode collapse as the moment before the death of diversity. The last breath of the model, like its last words.

The artwork “Strange Seed”, a masquerade of unfamiliar faces, appearing in a boldly colored procession with varying degrees of realism and abstraction to explore the phenomenon of “mode collapse,” when only a single type of image is produced, is trained with GAN (StyleGAN3) using an augmented dataset from “Strange Fruit” to dig deeper into mode collapse and how it affects the output of GANs. Each seed (a vector in latent space) represents an emotion; when seeds are combined, it creates a video interpolation to explore these relative emotions.

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Cambodia-born, LA-raised Mal Som began his exploration into the realm of AI-generated art after he relocated to Berlin. Instead of exploring the medium’s infinite possibilities, Mal has concentrated his focus on what he described as “the collapse of diversity in a system.” His key focus in AI is on identity bias, ethical practices, datasets diversity, and its impacts on humans. As a self-taught artist/ coder with a background in philosophy, he explores cultural conflicts that can foster a more profound understanding and bring new possibilities with an amalgamation of Eastern philosophy and Western pop-culture perspectives. 

In general, he gravitates towards experiments that break or stress the limitation of a system. His work explores a constant occurrence in machine learning models, known as mode collapses. He trains the model until a full collapse happens. He iterates on the dataset by augmenting, duplicating, and looping in generated images from previous ticks to steer the collapse. And then he took a few ticks backward, and that’s when he discovered partial collapse. Mal’s work has been exhibited in the show “Reflection in the water” in Feral File previously.

https://thismonsterdoesnotexist.com

Strange Seed 01 : 0.25 ETH

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Strange Seed 01, 2022
Strange Seed Series
Video (Color, silent, MP4)
15 seconds
816 x 1024 pixels
Edition of 1

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Strange Seed 02 : 0.25 ETH

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Strange Seed 02, 2022
Strange Seed Series
Video (Color, silent, MP4)
15 seconds
816 x 1024 pixels
Edition of 1

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Strange Seed 03 : 0.25 ETH

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Strange Seed 03, 2022
Strange Seed Series
Video (Color, silent, MP4)
15 seconds
816 x 1024 pixels
Edition of 1

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Alina Nazmeeva

Mining01

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Mining01: 0.6 ETH
Alina Nazmeeva

Digital Vanitas: Mining01

Mining01 is the first still life from the series Digital Vanitas. The series reinterprets Vanitas— Dutch and Flemish still lifestyle of painting originated in the Lowlands in the 17th century—in the contemporary context. Grounded in objects of wealth, knowledge and beauty, and the elements of decay depicted in the scenes, Vanitas speaks of the transience of life and mortality. On the one hand, they suggest that nothing sustains against decay and death, thus moralizing the viewer. On the other hand, with the realistic trompe-o-leil representation, they seduce the viewer to enjoy the elegant objects of art, flowers and fruits depicted. Digital Vanitas are inspired by the ambiguous wholeness of these images, the “love-hate” dynamic of pleasure of life and its passing.

In Nazmeeva’s series, she is developing a new lexicon for Vanitas, consisting of the contemporary objects of wealth and power, beauty and knowledge, and the instruments that construct and reproduce realit(ies). In the center of Mining01 there is a GPU mining rig, surrounded by amorphous rocks, chunks of gold and a globe. There is no sand in the hourglass. Yet the fans of the rig are spinning, indicating time passing. This work broadly inquires the meaning of value in the world of crypto-mining, and the layers of abstraction that are created as the precious metals mined to create GPUs that mine ethereum. In the constructed virtual worlds of computer generated images of Mining01, mining rigs do not need to be connected to electricity to make their fans spin. Yet the images use electricity, but do they mine value?

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Alina Nazmeeva is a digital artist, designer, and educator based in Boston. She is a graduate of Master of Science in Urbanism, MIT (2019); and a fellow of the New Normal program at Strelka Institute of Media Architecture and Design (2017). She is a lead researcher at MIT Future Urban Collectives Lab, where she designs physical and digital spaces for emerging collectives, and a researcher at MIT Real Estate Innovation Lab, studying the economies of virtual worlds and videogames and prototyping urban-scale digital twins. As an educator, she is teaching Advanced Studio courses at Rhode Island School of Design and Boston Architecture College.

Alina’s independent artistic work focuses on VR/AR experiences, computer graphics and digital urban space. Her most recent work was commissioned by the Russian Pavilion at the Venice Biennale of Architecture. Her writing has been published in PLAT, Media-N, CARTHA Magazine, Perspectives, VOICES(Towards other Institutions), Harvard Real Estate Review (forthcoming).

https://www.n-a.space/

Mining01: 0.6 ETH
Alina Nazmeeva

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Mining01, 2021
Digital Vanitas Series
Video (Color, silent, MP4)
3 seconds
3340 x 2150 pixels
Edition of 2

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Joseph Chen

Copy is Right!

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Copy is Right! : 0.25 ETH
Joseph Chen

Copy rights? Copyright? Copy is Right! is a video-creation by Hong Kong-based multimedia artist Joseph Chen that explores legal and illegal narratives through a cyber-generative experience. Using primarily complimentary stock photos available on the internet, the creator critically reimagines a fictional landscape that questions the right of copyrights, and the rights of copying. 

Unintentionally questioning the copyrights and decentralizing nature of NFTs, Chen’s 2016 ramification quoted the creativity of the Shanzhai (山寨) culture, a Chinese neologism for fake, to construct a creative visualizer using sampling stock imageries and sounds from the internet. 

In Copy is Right!, countless familiar visuals and audio recordings are collaged to form dreamscape-like stories. Seemingly spastic and sporadically familiar, the sourced images visibly demonstrate an underlying globalization influence that merges cultures from all around the world, including the different corners of the internet. Matrix analog background, Nirvana baby, computational Japanese audiotape of “I don’t know anything”, …the Shanzhai nature of using the sampling stock photos with the watermark on them subverts the ideals of copyright and licensing, counterfeits vs. originals. 

Chen created a unique NFT artwork using mass-dispersed downloadable content, about these free-for-all images, but not a generic product itself. The question is — is copying right if copyright is right rights?

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Joseph Chen King Yuen is an artist and cultural organiser based in Hong Kong. He is the co-founder of Virtue Village, an artist duo creating and curating art that connects humans to spirituality and intimacy, and explores the idea of ascension in different cultures and religions. His art practices deal with technology, sexuality, mythology, culture, revolving around video art, also involving collage, installation, and performance. His artworks and curations have been shown around the world, including NOWNESS ASIA, Denny Dimin Gallery (New York), HOME (Manchester), PHOTOFAIRS (Shanghai), Art Central (Hong Kong), and Waley Art (Taipei).

https://www.josephchenart.co

Copy is Right! : 0.25 ETH
Joseph Chen

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Copy is Right!, 2016
Video (Color, sound, MP4)
3 minute 27 seconds
596 x 336 pixels
Edition of 4

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Peter Nelson

treeGAN #8, #9, #10, #11

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treeGAN #8 : 0.3 ETH

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treeGAN #9 : 0.3 ETH

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treeGAN #10 : 0.3 ETH

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treeGAN #11 : 0.3 ETH

treeGAN #8, #9, #10, #11

At this point in our internet usage, we have seen a lot of data visualization in the form of  digital trees. There are the 8-bit green cube clutters from Minecraft, and there are fruit-growing ones from the Animal Crossing franchise. We see hyper-realistic 3D trees being made by animators using advanced software that speaks a whole different language, and we also see artists down the ages being fascinated by the organic forms in the landscape and making beautiful frescoes, paintings, and doodles of plants. Nelson is no exception. Since more than a decade ago, Peter Nelson has been engaging himself with the recreation of rustic exploration and urban observations. In Nelson’s works, forestry realities are often combined with machine learning scriptures across many media, from painting and drawing to animation, 3D printed sculpture, and interactive game-based systems. 

In this new sequence of work, the Morphing Series, Nelson presents four digital trees bloomed through Generative Adversarial Network (GAN) technology in a data-driven approach. The Morphing Series includes four digital tree renderings sequenced as treeGAN #8,  #9, #10, and #11. In the Anglo-Cantonese context, treeGAN aurally annotates the Chinese word for tree stems (根), which is pronounced similarly to GAN. Reflecting on the history of imported trees in Hong Kong, the Hong Kong-based Australian artist finds himself surrounded by the trees of his childhood, standing at the intersection of local and personal history. 

As a visual artist and academic, Nelson takes inspiration from the strokes and shapes in Chinese literati, and German Romantic paintings of trees such as Tetschener Altar by Caspar David Friedrich in 1808 as Nelson textures his computer animations. To Nelson, the continuation of artistic questions in forms and how artists throughout history have struggled to represent the world around them is a kind of landscape on its own. The process of machine learning networks trying to make 3D trees creates a game-like experience that echoes the aesthetics and spatiality between actual space and digital space. Teaching the machine learning system to produce the three-dimensional shape of a tree is not a simple input-output task. Perhaps the process of observing the technical struggles of the computation systems may provide viewers with an opportunity to reflect upon new computational paradigms that are reshaping our future. 

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Peter Nelson is a visual artist and academic working at the intersection of landscape theory and computer games. Originally trained in painting and drawing, Nelson currently produces exhibitions across a number of media, from painting and drawing, to animation, 3D printed sculpture and interactive game-based systems. Across these disciplines, he is engaged in a prolonged consideration of the history of landscape images, how they are remediated by technological shifts, and how these shifts absorb and reflect changes in our relationships with the physical environment.

He has been working between Australia and East Asia for the past 10 years, and has undertaken residency projects with Taipei Artist Village (Taipei), Organhaus (Chongqing), Red Gate Gallery (Beijing), Serial Space (Sydney) and the City of Sydney. He has held numerous group and solo exhibitions, including projects with HanArt TZ Gallery (Hong Kong), The National Palace Museum (Taiwan), The Sichuan Fine Art Academy Museum (Chongqing) and the K11 Art Foundation (Hong Kong). He is currently the Vice President of Chinese DiGRA (Digital Games Research Association).

https://www.peteracnelson.com/

treeGAN #8 : 0.3 ETH

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treeGAN #8, 2022
Morphing Series
Video (Color, silent, MP4)
1 minute 23 seconds
1080 x 1080 pixels
Edition of 1

* The image is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

treeGAN #9 : 0.3 ETH

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treeGAN #9, 2022
Morphing Series
Video (Color, silent, MP4)
1 minute 6 seconds
1080 x 1080 pixels
Edition of 1

* The image is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

treeGAN #10 : 0.3 ETH

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treeGAN #10, 2022
Morphing Series
Video (Color, silent, MP4)
58 seconds
1080 x 1080 pixels
Edition of 1

* The image is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

treeGAN #11 : 0.3 ETH

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treeGAN #11, 2022
Morphing Series
Video (Color, silent, MP4)
1 minute 15 seconds
1080 x 1080 pixels
Edition of 1

* The image is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Kong Kee

Wong Ka Ying

Yesterday Girl

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Yesterday Girl : 0.95 ETH

Yesterday Girl

Derived from an 80’s Canto Pop Song, “Yesterday Dreamer” by Prudence Law, the artwork’s title “Yesterday Girl” connotes the obsolescence of antiquated notions of gender, identity and facility. Wong manifested the implicit public anxiety of being a dreamer in the 80s into her present-day quest about the machinic dissemination of false representations through photographed self-portraits (selfies). Situating the photos on a digital network creates the illusion of factually representing reality. The artist keeps building on the artificial intelligence network, but finds herself in repeatedly failing situations. The original purpose of using the machinic tool to produce a convincing set of fake selves is defeated. The artist was forced to make manual decisions to create the A.I.-generated self-portraits.

Viewers can see numerous photographic self-portraits of the artist generated by machine learning generative adversarial network (GAN) technology, all shown in one place. Ninety portraits resemble the face of the artist, but none of them are authentic photographs of Wong’s face. The use of “authentic” was never to denote an absolute state or a coherent image, but it contributes to the discourse of today’s self-portrait replacing our image documented from the previous day. Looks might be impermanent in the real world, but the artwork will stay permanent on the blockchain.

Our Terms & Conditions apply to all auctions

Wong Ka Ying (b. 1990) is an artist and writer based in Hong Kong. She received her BFA degree from the Chinese University of Hong Kong in 2013 and the M.Phil. in Visual Arts from the Hong Kong Baptist University in 2021. She is currently pursuing her PhD degree in Cultural Studies in the Chinese University of Hong Kong. A keen observer of the art community and society, Wong critically reflects on the various social, cultural, and gender issues today through using a wide range of media from performance to social media platform. Wong expresses passion in writing, curating and art education. She made an outward appearance on various public sharing, seminars, panel discussion and talks, actively engaging with the communities and art lovers.

https://www.wongkaying.com/

Yesterday Girl : 0.95 ETH

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Yesterday Girl, 2021
Digital Archival Image. Photograph, GAN Generation (PNG)
12,645 x 5,058 pixels
Edition of 1

* The image is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

FAMEME aka Yu Cheng Ta

NFT Coupon: MEPON

MEPON

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ME map : 0.8 ETH

ME song-ME (1-33) : 0.4 ETH

FAMEME is a character Yu Cheng-ta created to examine the identity of ME in the era of social media and the attention economy. For this drop, FAMEME is launching MEPON, the official currency of the Kingdom of FAMEME. The trust-based system enabled by NFT technologies gives MEPON the authority it needs.

Each MEPON is an NFT and is valued at a fixed price of 0.02 ETH, and we are using it to calculate the price of the newly commissioned artworks by FAMEME. To collect ME map, 2022 and ME song, 2022 created by FAMEME aka. Yu Cheng-ta, please first click the artwork, and you will be redirected to the preview of the artwork; then please click the “COLLECT” button under the preview, then you will be shown the transaction page where you can process your purchase. Our system will facilitate all the behind the scenes steps like redemption, and delivery. Just click the “COLLECT” button, and the magic will happen.

FAMEME is a reinterpretation of Yu Cheng-ta’s persona in response to the pressure and equalization force of social media. Under such promises, he also reinvented a capitalist invention – the currency. MEPON as the currency of the kingdom of FAMEME is enabling and challenging at the same time. Enabling economic activities, i.e. trading of artworks, at the same time also investigates the limitation of any currency in this click economy, where the demand/ supply ideology brought to our world by Adam Smith doesn’t apply.

ME map, 2022 is the official map of the Kingdom of FAMEME, and is inspired by the illustration of the information architecture of the artwork-redemption system, redeemable on screensguru.io with MEPON. Greek academic Anaximander is believed to have created the first world map in 6th century BC. Map as a diagrammatic representation of an area of land or sea showing physical features, cities, roads … etc. usually enables us to navigate on the superficial layer of geographies, but never shed lights on the factors that formulated the ground we walk on. With ME map, FAMEME’s creative purpose goes one step further. ME map is the illustration of these multifaceted relationships among thosfe functionality contingents co-existing in this virtual land we called Kingdom of FAMEME.

ME song (ME01-33), 2022 is the anthem of the Kingdom of FAMEME consisting of 33 MEs as the lyrics. The collector who purchases a ME must return a voice recording of their own ME to FAMEME, and a new version of the ME song. The purpose of a national anthem is to nurture patriotism among its citizens. In this Kingdom of FAMEME, we are encouraged to be ME, a capacity enabled by the architects of social media. Yet, under the micro and never-ceasing scrutiny of this construct, are we really ME, or are we coerced by the social media public into a normalised version of ME, stripping us all the rights to reinterpreting ourselves?

DON’T GOOGLE ME JUST FOLLOW ME

CLICK TO FOLLOW FAMEME IG

footages from FAMEME’s performance and projects

ME x ME by FAMEME Showcase Walkthrough at Q9 Capital, Hong Kong

Our Terms & Conditions apply to all auctions

FAMEME is a character created by conceptual artist Yu Cheng-Ta for the Performa Biennial in 2019. Developed through the character of FAMEME, an Asian billionaire farmer drawn to New York City to promote durian—a thorny, odorous, tropical fruit indigenous to Southeast Asia—the project depicts an outsider’s quest for fame and acceptance in American culture.

In 2019, FAMEME opened the “Museum of Durian” in SOHO in New York City, and did a Times Square advertising reveal on the giant billboards in front of the EDITION Hotel at Father Duffy Square. In 2020, FAMEME opened the “Durian Exercise Room” in South Korea, he launched Durian Pharmaceutical in Taipei, and in 2022 he created the project Durian Duty to be Free both in Taipei.

Yu participated and exhibited in the 6th Taipei Biennial, the 53rd Venice Biennale, the 10th Shanghai Biennial, the 56th Berlin International Film Festival, and Centre Pompidou.

https://www.fameme.online
https://www.yuchengta.com

MEPON

Each MEPON is an NFT and is valued at a fixed price of 0.02 ETH, and we are using it to calculate the price of the newly commissioned artworks by FAMEME. To collect ME map, 2022 and ME song, 2022 created by FAMEME aka. Yu Cheng-ta, please first click the artwork, and you will be redirected to the preview of the artwork; then please click the "COLLECT" button under the preview, then you will be shown the transaction page where you can process your purchase. Our system will facilitate all the behind the scenes steps like redemption, and delivery. Just click the "COLLECT" button, and the magic will happen.

FAMEME is a reinterpretation of Yu Cheng-ta’s persona in response to the pressure and equalization force of social media. Under such promises, he also reinvented a capitalist invention - the currency. MEPON as the currency of the kingdom of FAMEME is enabling and challenging at the same time. Enabling economic activities, i.e. trading of artworks, at the same time also investigates the limitation of any currency in this click economy, where the demand/ supply ideology brought to our world by Adam Smith doesn’t apply.

* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

ME map : 0.8 ETH

Collect

ME map, 2022
Video (color, sound, mp4)
1920 × 1080 pixels
22 seconds
Edition of 5

ME map, 2022 is the official map of the Kingdom of FAMEME, and is inspired by the illustration of the information architecture of the artwork-redemption system, redeemable on screensguru.io with MEPON. Greek academic Anaximander is believed to have created the first world map in 6th century BC. Map as a diagrammatic representation of an area of land or sea showing physical features, cities, roads … etc. usually enables us to navigate on the superficial layer of geographies, but never shed lights on the factors that formulated the ground we walk on. With ME map, FAMEME's creative purpose goes one step further. ME map is the illustration of these multifaceted relationships among those functionality contingents co-existing in this virtual land we called Kingdom of FAMEME.

* The video is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

ME song-ME (1-33) : 0.4 ETH

ME song (ME01-33), 2022
Sound (mp4)
1 second
Edition of 1

ME song (ME01-33), 2022 is the anthem of the Kingdom of FAMEME consisting of 33 MEs as the lyrics. The collector who purchases a ME must return a voice recording of their own ME to FAMEME, and a new version of the ME song. The purpose of a national anthem is to nurture patriotism among its citizens. In this Kingdom of FAMEME, we are encouraged to be ME, a capacity enabled by the architects of social media. Yet, under the micro and never-ceasing scrutiny of this construct, are we really ME, or are we coerced by the social media public into a normalised version of ME, stripping us all the rights to reinterpreting ourselves?

* The video/audio is compressed for preview. It does not reflect the full resolution of the actual artwork.
* The price in ETH may vary with ETH exchange

Sa Sa Art Projects

NFT Charity Sales of Sala Samnak by Vuth Lyno for Pisaot residency programme

Collect

Set A - 0.08 ETH

Collect

Set A - 0.08 ETH

Collect

Set B - 0.08 ETH

Collect

Set B - 0.08 ETH

Collect

Set C - 0.08 ETH

Collect

Set C - 0.08 ETH

Set A : Sala Samnak Prek Dambauk (animated), 2022
Set B : Sala Samnak 1 (animated), 2022
Set C : Sala Samnak Tomorrow (animated), 2022

*Each set includes one AR IG filter and one 33 seconds single channel video

For our inaugural drop, screensguru.io is proud to present an NFT charity sale to help raise funding for the Pisaot Residencies, operated by Sa Sa Art Projects of Cambodia (Documenta Fifteen participant). Our target is to raise US$10,000 to support the operation of the art residencies program for artists in the year 2022-23.

We are selling each set of NFT for USD 200, and it includes the AR/ IG filter and a single channel video of Sala Samnak (animated), 2022 series. The sales of NFTs from this drop benefit the Sa Sa Art Projects and its signature the Pisaot Artist Residency. Each residency costs US$2000.

 

About the Artworks

Created by multi-disciplinary Cambodian artist Vuth Lyno in collaboration with fellow artists Alina Nazmeeva, Kong Siden, & Prak Dalin, the artwork is inspired by its namesake, meaning ‘House of Fire’, the sala samnak is a Cambodian communal rest hall whose origin pre-dates the Angkor period. Beginning as early as the 12th century under Khmer reign, construction of sala samnaks became popular along highways that connected Cambodia to present-day Thailand, Laos, and Vietnam. Built by the community, as a decentralizing effort, as respond to the decentralisation nature of NFT, the modest structure that also exists in villages, visitors use the sala samnak as a place of rest and gathering for ritual ceremonies and communal events. 

In this drop, we will be presenting Sala Samnak (animated), 2022 in 3 set of NFTs, each set includes an AR IG filter and a single channel video from the artworks: Sala Samnak 1 (animated), 2022 , Sala Samnak Prek Dambauk (animated), 2022, Sala Samnak Tomorrow (animated), 2022.  In these artworks, the shiny building structures emanate fluorescent light and appear to be floating in mid-air. The semi-immateriality, apparent fragility, and architectural simplicity of the houses hint at their precarious existence and even irrelevance in today’s modern society. As Instagram filters, the glowing neon lights from the Sala Samnak render a digital quality that reflects our technologically-driven world. Prolonging the viewer’s gaze, these works are engaging, relatable and resonant.

Sa Sa Art Projects Vuth Lyno
Co-founder of Sa Sa Art Projects Charity Fund Raising appeals for support for the charity fundraising

Alumni artist Soojin Chang (b. 1991, California) sharing her experience doing residency in Pisaot

About Sa Sa Art Project

Sa Sa Art Projects is a Cambodian artist-run space dedicated to experimental and critical contemporary art practices. Founded in 2010 by the Cambodian arts collective Stiev Selapak, it is an experimental mechanism which addresses Cambodia’s lack of infrastructure for contemporary art education and engagement by creating space for critical discussion. Without a rigid organisational structure, Sa Sa Art Projects evolves organically to adapt to the changing context and needs of Cambodian communities.

https://www.sasaart.info/pisaot.htm

About Pisaot art residency program

Pisaot is an experimental arts residency program operated by Sa Sa Art Projects for Cambodian artists and selected visiting guests, it usually runs for eight weeks in central Phnom Penh.

During each residency, artists are encouraged to experiment in their practice. Pisaot does not ask artists to do work for an exhibition. The program gives selected artists the freedom to do anything they want. Artists-in-residence are encouraged to try new ways to use different media and/or explore new ideas that expand the artists’ current practices and challenge the possibility of art.

Sa Sa Art Projects promotes two-way knowledge sharing. While artist-in-residence research their projects, we encourage them to share with the art communities and audiences in Phnom Penh. Artist-in-residence is expected to engage the public during the residency, either in an artist’s talk, workshop, skill-sharing session, open studio, or other formats.

Our Terms & Conditions apply to all auctions

Artist Profile

Vuth Lyno is a multi-disciplinary artist, curator, and educator interested in space, overlooked histories, notions of community, place-making, and production of social relations. His artistic and curatorial practice is participatory in nature, engaging mutual and communal learning. Working across various media, he often constructs installations and architectural bodies as situations for interaction. He believes in the potency of collectivity, storytelling, and the agency of cultural objects as potential pathways to reimagine our sociality.

Vuth’s artwork has been exhibited in the Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane, the National Gallery of Indonesia, Jakarta and the Centre for Contemporary Art Ujazdowski Castle among others. Vuth holds a Master of Art History from the State University of New York, Binghamton, New York, a Fulbright Fellowship (2013-15), and a Master of International Development from RMIT University, Melbourne, supported by the Australian Endeavour Award (2008-2009).

https://vuthlyno.art/

Set A - 0.08 ETH

Collect

Sala Samnak Prek Dambauk (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak Prek Dambauk (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

Set A - 0.08 ETH

Collect

Sala Samnak Prek Dambauk (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak Prek Dambauk (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

Set B - 0.08 ETH

Collect

Sala Samnak 1 (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak 1 (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

Set B - 0.08 ETH

Collect

Sala Samnak 1 (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak 1 (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

Set C - 0.08 ETH

Collect

Sala Samnak Tomorrow (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak Tomorrow (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

Set C - 0.08 ETH

Collect

Sala Samnak Tomorrow (animated), 2022
Video (Colour, silent, MP4)
1920 x 1080 pixels
33 seconds
Edition of 20

Sala Samnak Tomorrow (animated), 2022
AR Instagram filter
Edition of 20

* Each set includes one AR IG filter and one 33 seconds video
* The video is compressed for preview. It may not reflect the full resolution of the actual artwork
* The price in ETH may vary with ETH exchange

15.02.2022

We are always just a few taps away from our online audiences. In the age of rapid sharing of ones’ curated social lives on the internet, multi-identities of oneself are inevitably and sometimes passively created as we consider the various parties we face. Myriad social media usage informs interpretations that are variegated yet singular; our presentation of self is flattened and limited by the data we choose to share with the public. We think we are reinventing our online identities when we are caving into serving the ideals engineered by Mark Zuckerberg and other tech moguls. With the latest identification system in NFT blockchain technology, online security is not limited to digital assets but also the uniqueness of oneself. This social-performativity enables us to rethink our identity shaped by society, and consistently (re)constructs the reality of oneself and our (new) reality. 

In this panel, we have invited Hong Kong artist Wong Ka Ying and Taiwan-based artist Yu Cheng-ta to explore how artists recreate themselves as a social phenomenon and performance. Both avid life observers who critically reflect on the omnipresent dialogue between self and others through playful approaches in their works, in her latest project, Yesterday Girl, Wong plugged her selfies into an A.I./generative adversarial network (GAN) program to generate a series of images that looks like her but isn’t her, to examine one’s identity and beauty standards in today’s world. While Yu embraces the multi-(and sometimes fictional)-identities of his creation through a series of performances that examines the cultural and sociopolitical phenomenon under the influence of Western mass media trends.

Join us on Thursday, 17th Feb, 2022 at 8 – 9 pm HKT.

Moderator:
Dr. Issac Leung (Hong Kong)
Speakers:
Wong Ka Ying (Hong Kong)
Yu Cheng-ta (aka. FAMEME) (Taiwan)

Register here: 
https://www.eventbrite.hk/…/remaking-of-oneself…
Zoom link: https://zoom.us/j/95534286958

**Q&A will be conducted after the discussion
**The panel will be conducted in English
**This panel was prepared or accomplished by the participants in their personal capacity and do not necessarily reflect the official policy or position of screensguru.

04.02.2022

For Clara Cheung of C&G Artpartment, the artistic space of Hong Kong is shaped by hypercapitalism: its artistic ecology is characterized by the desire to consume art and to profit from the art market. In face of the one-dimensional demand of the market, how do art practitioners preserve its artistic ecology through art history, criticism and education beyond the present model of consumption? Beyond art as a commercial practice, Lyno Vuth engages non-artists and local communities with his art practice. How does he rearticulate religiosity and change the way locals orient themselves in communities through art? 

In this panel, we will interrogate the questions: What does the notion of “locality” mean in terms of space and culture? In turn, how can we understand locality in terms of the ever-developing virtual worlds? On an architectural level, placemaking is the transformation of public space to proximate communal connections. Beyond urbanism, placemaking can also denote religious and virtual space. Apart from modes of community, places can also be made through journeys and pilgrimages, where space and time are no longer quantitative modes of measurement but understood as history, in which we see the formation and dissolution of groups. For the philosopher Immanuel Kant, space is distinguished from spatiality – while the former is a contextualized topos, the latter is defined by our ability to orient ourselves through “feeling” – such as our innate ability to distinguish between left and right. With our subjectivities, we are capable of localizing abstract space as the tangible place.

Join us on Tuesday, 8th Feb, 2022 at 8 – 9 pm HKT

Register here: https://www.eventbrite.com/…/placemaking-the-virtual…

Zoom link: https://zoom.us/j/94541188871…

**Q&A will be conducted after the discussion

1. ART IS RIGHTS

When rights of artwork are defined, artists can take control of their careers. When the provenance of artworks is authenticated, ownership is secured for the collectors. With NFT technologies, screensguru aims to bring authenticated art to the connoisseur.

2. It's all about your artworks

How does it work for artists? Artists can submit their works to hello@screensguru.io, and if our curators believe the artworks are right for our collectors, we will take care of the rest from tokenization to sales.

3. Authenticated art for the connoisseur

How does it work for collectors? Every collector is a VIP. screensguru brings authenticated art from renowned artists to the right collectors, and we are here to assist every step of the way.

4. Services

We offer fixed-price sales and the auction of authenticated art via NFT to qualified collectors. Besides servicing artists and collectors, we also provide NFT consultancy services for art institutions and galleries. We also offer NFT archive as-a-service and managed NFT marketplace to art institutions and galleries.

1. ART IS RIGHTS

2. It's all about your artworks

3. Authenticated art for the connoisseur

4. Services

11.04.2022

“… 𝘣𝘭𝘰𝘤𝘬𝘤𝘩𝘢𝘪𝘯 𝘵𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘺 … 𝘪𝘴 𝘱𝘰𝘴𝘴𝘪𝘣𝘭𝘦 𝘵𝘰 𝘳𝘦𝘢𝘭𝘭𝘺 𝘶𝘴𝘦 𝘪𝘵𝘴 𝘵𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘺 𝘧𝘰𝘳 𝘨𝘰𝘰𝘥 𝘸𝘩𝘦𝘵𝘩𝘦𝘳 𝘪𝘵 𝘪𝘴 𝘥𝘪𝘳𝘦𝘤𝘵𝘭𝘺 𝘣𝘦𝘯𝘦𝘧𝘪𝘵𝘪𝘯𝘨 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘰𝘳 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘪𝘯𝘴𝘵𝘪𝘵𝘶𝘵𝘪𝘰𝘯…..𝘴𝘤𝘳𝘦𝘦𝘯𝘴𝘨𝘶𝘳𝘶 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘤𝘰𝘮𝘪𝘯𝘨 𝘵𝘰 𝘧𝘶𝘯𝘥 𝘢𝘯 𝘢𝘳𝘵𝘪𝘴𝘵 𝘪𝘯 𝘳𝘦𝘴𝘪𝘥𝘦𝘯𝘤𝘺 𝘧𝘰𝘳 4 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘪𝘯 𝘤𝘢𝘮𝘣𝘰𝘥𝘪𝘢 … ” 𝘤𝘶𝘳𝘢𝘵𝘰𝘳 𝘑𝘶𝘭𝘪𝘦 𝘞𝘢𝘭𝘴𝘩

It is generous for one of our favorite curators Julie Walsh to mention to us “𝙁𝙧𝙤𝙢 𝙊𝙣-𝙨𝙞𝙩𝙚 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣𝙨 𝙩𝙤 𝘿𝙞𝙜𝙞𝙩𝙖𝙡 𝘼𝙧𝙩, 𝙖 𝙅𝙤𝙪𝙧𝙣𝙚𝙮 𝙏𝙝𝙧𝙤𝙪𝙜𝙝 𝘿𝙞𝙛𝙛𝙚𝙧𝙚𝙣𝙩 𝘿𝙞𝙢𝙚𝙣𝙨𝙞𝙤𝙣𝙨” Tezos x SXSW 2022 panel discussion in the context of NFT and how it can help build a healthier ecosystem for women in art/ tech.

On the panel, Julie also shared with us her journey from an artist to becoming an art dealer and curator and how public art takes place in NFT to challenge her to rethink who gets the accessibility and change the way to build communities.

09.04.2022

Thanks Danielle Khleang of Plural Art Mag for the insightful article about the first NFT drop by Lyno Vuth of Sa Sa Art Projects with screensguru.

The article explores the potential of NFT in charity fundraising, and how it makes use of the collective effort of the artist, NFT marketplace, and all the art lovers in building a better art community. Within that, the artist shares his own struggles and insight in the creation of the NFT artwork.

“𝘐𝘵 𝘪𝘴 𝘷𝘦𝘳𝘺 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘧𝘰𝘳 𝘢𝘯 𝘢𝘳𝘵𝘪𝘴𝘵 𝘵𝘰 𝘩𝘢𝘷𝘦 𝘢𝘯 𝘪𝘯𝘥𝘦𝘱𝘦𝘯𝘥𝘦𝘯𝘵 𝘢𝘯𝘥 𝘴𝘶𝘴𝘵𝘢𝘪𝘯𝘢𝘣𝘭𝘦 𝘤𝘢𝘳𝘦𝘦𝘳… 𝘞𝘦 𝘩𝘦𝘭𝘱 𝘧𝘢𝘤𝘪𝘭𝘪𝘵𝘢𝘵𝘦 𝘵𝘩𝘢𝘵 𝘣𝘺…[𝘥𝘦𝘧𝘪𝘯𝘪𝘯𝘨] 𝘰𝘸𝘯𝘦𝘳𝘴𝘩𝘪𝘱 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘢𝘳𝘵𝘸𝘰𝘳𝘬𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘪𝘯𝘵𝘦𝘭𝘭𝘦𝘤𝘵𝘶𝘢𝘭 𝘱𝘳𝘰𝘱𝘦𝘳𝘵𝘺 𝘤𝘰𝘯𝘵𝘦𝘹𝘵.” 𝘍𝘰𝘶𝘯𝘥𝘦𝘳 𝘰𝘧 𝘴𝘤𝘳𝘦𝘦𝘯𝘴𝘨𝘶𝘳𝘶

That’s the core belief of screensguru.

Full article: https://pluralartmag.com/2022/04/05/vuth-lyno-nft/

27.01.2022

We would like to invite you to our showcase in Central for a NFT Charity Sales for Cambodia Art NGO, Sa Sa Art Projects .  The democratic concept of the rest hall sala samnak built by the Cambodian community since the Angkorian period resonance with the nature of decentralisation of NFT. 

For RSVP on private tour, please go:

https://www.eventbrite.hk/e/254334901537

For more info:

https://screensguru.medium.com/sala-samnak-fundraising-nft-sales-for-sa-sa-art-projects-pisaot-residency-program-89db3fb45964

01.12.2021

Screens Guru is honored to be invited by Hong Kong Trade Development Council to host the IP/ NFT Inspo roundtable, part of the BIP Asia Forum 2001.  Our pleasure to be co-hosting this roundtable with Ron Yu of Makebell and Ian Lui of Deacons.

29.09.2021

 Screens Guru is honored to be invited by HKTDC to present our view on NFT as a core component of the art/ tech development of Hong Kong.

20.06.2021

Art Basel has recognised screensguru as one of the key organizations driving the exploration of NFT in the world of fine art.

 “Also at the fair, screensguru, an art-tech startup, debuted an NFT for sale at the booth of local institution 1a space. By the people, for the people is by the Hong Kong artist group WAVE, devoted to exploring NFTs as an art form; the work consists of a QR code (a key symbol in viewing and trading NFTs) composed of 335 fingerprints. Auctioned on the OpenSea platform, it went to the highest bidder at 4.4 Ethereum (about US$11,000). Just 18 months old, Screens Guru, is described as an artist incubator by its co-founder Peter Yu: ‘We match artists with technology to explore new ways of art-making. “

Full article : https://artbasel.com/stories/nft-revolution-koenig-mennour-pace-ora-ora

16.06.2021

In the interview, our founding members Peter Yu and Ip Wai Lung shared the creative process of HK first NFT collective WAVE’s artwork “by the people, for the people” and “for your eyes only” and our organization’s vision.

26.05.2021

Screens Guru is pleased to announce the auction result of by the people, for the people, an NFT artwork by HK 1st virtual NFT artist group.

The auction on Opensea.io ended on May 25, 2021 at 20:00 Hong Kong Time. The highest bidder offered by some by the name of mrbeehive. The bid is for ETH 4.4 (equivalent to USD11385.0). We are grateful for every bidder’s generous support to WAVE, and the NFT art community. The un-lockable content is finger print of the artist and will reveal to the collector of the work.

the artwork of by the people, for the people by WAVE

25.05.2021

Space/ Art/ NFT// is WAVE’s first solo exhibition. Selected NFT works will be exhibited and previewed at the Gallery by the Harbour at Harbour City on May 25 to 31, 2021. NFT artist group WAVE’s first solo exhibition in Hong Kong, WAVE@Space/ Art/ NFT// is a spatial exploration with art and technology. In this exhibition, the artist seeks to explore new ways and means of spatial transformation between physical space and non-physical space by incorporating participating art and NFT technology in several artworks. While the central theme of WAVE’s work is underpinned by the notion of impermanence and is concerned with how the idea can be changed from one state to another in physical (artwork) and non-physical forms (NFT), the exhibition also provides us with an opportunity to rethink the current status of the art ecosystem and how art practice could change with NFT technology. This exhibition could potentially change the way we see art.

Event link : https://www.facebook.com/events/175487327815411?ref=newsfeed

Spatial exploration with Art and Technology – a Look at WAVE@ Space/ Art/ NFT//  by Dr. Martha Liew, edited by Peter Yu

19.05.2021

Screens Guru is pleased to announce the auction of by the people, for the people on Opensea.io, the 1st NFT artwork exhibit at Art Basel by 1st HK virtual NFT artist group WAVE.

In the 1st piece in the series by the people, for the people, WAVE, 1st HK NFT virtual artist group, created a work by the same name by the people, for the people. The visual of the artwork is a QR code composed with 335 scanned fingerprints sourced from Poly University of Hong Kong. In this piece, the artist intends to challenge the role of the elites vs. the public in the creation, curation, and collection of art.

WAVE’s work is underpinned by the notion of impermanence and is concerned with how the idea can be changed from one state to another in physical (artwork) and non-physical forms (NFT), the piece also provides us with an opportunity to rethink the current status of the art ecosystem and how art practice could change with NFT technology.

direct link to auction: https://bit.ly/3u3kD0a
auction period: May 19 – 25

the artwork detail of by the people, for the people

About WAVE

WAVE is Hong Kong’s 1st NFT artist group that leverages technology and data to challenge the centuries old art ecosystem that define the status quo of art creation, curation, and collection. WAVE as a group has collectively decided to dispose of their identities. Being virtual means not being controlled or subjugated by history or the norms.

WAVE is interested in exploring how the NFT platform could create a more decentralised and equitable art world for emerging artists and art forms. WAVE’s first NFT art exhibition, WAVE@ Space/ Art/ NFT//, is the artist’s attempt to challenge the centuries old art ecosystem.

19.05.2021

One of our HK based conceptual artist group WAVE has created the first NFT themed artwork by the people, for the people ever exhibited at Art Basel Hong Kong 2021 on May 19 to 23 at Booth P6 HKCE.

 

ART IS RIGHTS

As an intellectual property rights management platform, & marketplace for fine art NFTs, we are building a Web 3.0 ArteVerse

Telephone
+852.34880169

E-mail
hello@screensguru.io

Hong Kong Office

Unit 6, 11/F, Prosperity Place
6 Shing Yip Street
Kwun Tong, Kowloon, HK

Singapore Office

5001 Beach Road
#04-03-A2 Golden Mile Complex
Republic of Singapore 199588

Peter Yu

Chief Executive Officer

Peter Yu is a serial entrepreneur with a background in intellectual property development, management, and monetization. His specialization is the development of investment grade intellectual property for arts, music, and cultural phenomenon.

He studied philosophy (aesthetics) at the University of Michigan, and was the former Creative Director of Commercial Radio in Hong Kong, and the former Regional Director of Samsung Mpeon, Greater China.

Screens Guru is here to liberate artists, curators, and collectors from the boundaries of the current art system, and the emergence of NFT as a content rights management platform provides the perfect background for the reinvention of the art ecosystem.

Wai Lung Ip

Chief Innovation Officer

Lung hopes to create sustainable models for art-making through alternative means of intellectual property management with NFT technologies. As a performance artist, he attempts to wean himself from physicality through an investment in the spiritual.

His work has been exhibited in Denny Dimin Gallery (New York), Barney Savage Gallery (New York), Para Site (Hong Kong), Videotage (Hong Kong), Parc Saint Leger Art Centre (Paris), Tapei Performing Arts Centre (Taipei), Sa Sa Arts Projects (Phnom Penh).

Paddy Tan

Chief Strategy Officer

Paddy Tan is known in the industry as a Fixer, leading a team to solve complex challenges within a 100 days’ timeframe. Paddy advises business leaders on strategic planning, rapid scaling, growth and positioning, helping them increase profitability and pivot their businesses to gain a competitive advantage in their respective industries.

He specializes in Southeast Asia, which comprises hypercomplex and complicated markets. With his team and its vast network of partners and affiliated companies, Paddy helps foreign companies navigate the treacherous markets using intelligent and innovative strategies. These include tactics and approaches in structuring companies, scaling business, and selling product or service offerings.

Michelle Chan

Advisor for Commercialisation

Michelle is a pioneer and leader in digital innovation and marketing across multiple industry sectors. She serves as advisor at a few Web3 ventures recently, including MMMeta – a consulting firm specialized in Metaverse and NFT Business Advisory, Marketing and Full Channels Campaign Management. Alongside her advisory role in those new ventures, Michelle is also the InsurTech Committee Co-Chair of FinTech Association of Hong Kong (FTAHK) and Director of Marketing, BD & Innovation of a leading Virtual Bank in HK.
 
Michelle has over 20 years of Product, Marketing and Business Innovation experience in both Telecom, Customer Loyalty and Financial Service industry, with exposure in both local and international market. Before joining the banking industry, Michelle was the Head of Alternative Distribution at FWD Insurance, overseeing overall non-traditional distribution business, leveraging on innovative technology & ecosystem partnership. Before FWD, she had been with Hong Kong Applied Science and Technology Research Institute (ASTRI), Hong Kong Telecom (Group Loyalty Business, SVF Payment Business), Huawei Technology & Nokia Siemens Network, etc, taken up leadership roles in marketing, product and business development areas.

Jonathan Barton

Chief Content Officer

Jonathan has worked at the intersection of culture and technology for 25 years.

He co-organised the Charter for Art and Industry, represented the UK at the Council of Europe’s culture and technology committee, drafted policy outline for the Arts Council England on sustainability of digital content.

Jonathan has exercised his profession in corporate strategy and development in telecommunications and leading video games studios, developing new economic models for content distribution and partnerships and creating markets.

Oberon Sinclair

Advisor for Culture and Art

Oberon is the CEO and founder of the PR and Creative Agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with, consulted for, and managed an array of notable individuals as well as clients from luxury, art, fashion, film, food and lifestyle.  Oberon has worked with many noteworthy individuals and institutions, including Artforum, Artnet, Jamie Reid of the Sex Pistols, Hermes, Vivienne Westwood and Fabergé, the Richemont Group, Jack Spade, Island Records, MTV and more. She is hailed as the Queen of Kale for making Kale a global food trend.

Dr. Isaac Leung

Advisor for Culture and Art

Dr. Isaac Leung is a practicing artist, curator, and scholar. He received a Honorary Fellowship of Bachelor of Fine Arts at the New Media Art Department of the School of the Art Institute of Chicago.

From 2013 to 2020, he served as the Chairman at Videotage, a major independent art space dedicated to media art in Hong Kong, and had driven a variety of projects including “40 Years of Video Art in Germany and Hong Kong” (Hong Kong and Germany), the 12th Venice Biennale International Architecture Exhibition (Italy and Hong Kong) and “Perpetual Art Machine” (USA), “Time Test: International Video Art Research Exhibition” (China), ISEA Festival (Hong Kong, China), “Both Sides Now” (Hong Kong, UK, and various countries), “One World Exposition” (Hong Kong), “China Remixed” (USA), and Art Basel Crowdfunding Initiative (Hong Kong).

He is currently the Assistant Professor in the Faculty of Arts of the Chinese University of Hong Kong and Board Director of the Hong Kong Jewish Film Festival.

Howie Lau

Senior Advisor

Howie brings over 28 years of experience and thought leadership across technology and media sectors. He is currently the Managing Partner (Corporate Development & Partnerships) for NCS, a leading technology services company in Asia.

In his roles prior, Howie has worked for a government agency (IMDA) in Singapore, a triple-play telco (StarHub) as well as global Chinese (Lenovo) and US (IBM) tech companies. These include experiences in marketing, business leadership, corporate development, and M&A across Asia Pacific. China, India, and Latin America.

Howie is a (beta level) collector and admirer of South-East Asian art and furthering his interests through a Master of Arts in Asian Art Histories from Lasalle and Goldsmith UK.

Howie serves on several boards and advisory committees and was recognised as IT Leader of the Year 2020 by Singapore Computer Society and received the Philip Kotler Marketing Excellence award in 2018.

partners & supporters

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