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Works
2018
Nanyang Trilogy Restored
Exhibition
Client:
Asian Film Archive
Identity Creative and Art Direction:
Bryan Angelo Lim
Identity and Promotional Graphics:
Bryan Lim Jia Qing
Liqin Lau
Structure Fabricaton:
The Merry Men Works
Documentation Photography:
Studio W Photography
Asian Film Archive
Identity Creative and Art Direction:
Bryan Angelo Lim
Identity and Promotional Graphics:
Bryan Lim Jia Qing
Liqin Lau
Structure Fabricaton:
The Merry Men Works
Documentation Photography:
Studio W Photography
Asian Film Archive (AFA) presented Nanyang Trilogy Restored in 2018 at the National Museum of Singapore. The programme included a screening the restored films of ⟪南洋三部曲⟫ (Nanyang Trilogy) for the first time, 61 years after its release, namely ⟪血染相思谷⟫ (Blood Stains – The Valley of Love), ⟪唐山阿嫂⟫ (China Wife) and ⟪椰林月⟫ (Moon Over Malaya), and an exhibition about the film and the restoration process. Produced by the Kong Ngee Company and shot in 1957 Singapore and Malaya, the films, starring the youthful idols of the time, 谢贤 (Patrick Tse Yin), 嘉玲 (Patsy Kar Ling) and 南红 (Nam Hung), appealed to the younger post-war audiences and introduced urban perspectives.
Inspired by the core of AFA’s work—film restoration, the juxtaposition of images before and after restoration expresses the timely restoration of the lost gems of Singapore’s film history while a halftone effect applied across logotype paid homage to old film and imaging technologies.
The exhibition design reflects this restoration process—giving focus to what was once blurred—through the layering created from the structures. Using a cloth panel on the front that blurs what is presented in the inner layer of the structures, viewers are prompted to walk through to have a clear focus of the images and information within. The form of the structures make reference to pin-hole camera as well.
As the exhibition continued to travel around various venues in Singapore throughout the year, the structures were designed as using lightweight materials such as wood and cloth panels.
Inspired by the core of AFA’s work—film restoration, the juxtaposition of images before and after restoration expresses the timely restoration of the lost gems of Singapore’s film history while a halftone effect applied across logotype paid homage to old film and imaging technologies.
The exhibition design reflects this restoration process—giving focus to what was once blurred—through the layering created from the structures. Using a cloth panel on the front that blurs what is presented in the inner layer of the structures, viewers are prompted to walk through to have a clear focus of the images and information within. The form of the structures make reference to pin-hole camera as well.
As the exhibition continued to travel around various venues in Singapore throughout the year, the structures were designed as using lightweight materials such as wood and cloth panels.
Exhibition Identity ︎
A2 Poster
A2 Poster
