Winter, Friday, night, I stepped into the club. I picked the club because its About page had rambled on about its opening in 1991, making history night after night and how it was a vision of the future. I was dressed sacrilegiously vibrant, despite the scene’s unwavering devotion to black. The club was but a portal, I was here to travel.
I shed my jacket as I stepped into techno. Its long tunnel-like passages an acoustic transition to the heart of the building, but I detour enter a toilet cubicle. I close the door only to open it immediately. I step out into AmaSoñar and it is the 07.09.2349, Guillerrrrmo was playing and it was hot, humid, day. She was playing her set under a shed away from the blazing sun. Her set plays like the way she bops. High in musicality, infinitely danceable. mellowdramatics was my guide here as she regales me with tales of the Oyitos, Kupes, Watans and Equis of another tropics.
Day turns into night into day. It is 7am and there is daylight. I step into a neighbouring shed and out into TekNyahururu, 12.12.2349. Makossiri playing under sun ray. Does time change in the forever-summers (or is it tropical)? The hot and humid air hits me as I hear her. Loud before the plunging waters, her beats and rhythm relentless like the waterfall behind her. Between the Soursop long drinks, Chooc Ly is my guide to the party. Regaling me with tales from other tropics.
Day turns into night into day. It is 7am and there is daylight. Clockwork. Stepping into dense foliage I emerge into a garden. Now in Geomanta, 15.08.2531. The still hot and humid incense in the air, Kaleeekarma’s set is the come down I need while the party continues. The set brings my body and its surrounding to an equilibrium. Frictionless amidst the late afternoon easy. Nadi plays guide as she regals me with tales of how rivers became sea in her tropics.
Day turns into night into day. It is 7am and there is daylight. I step into the house and emerged out of the cubicle. Again, I stepped into the long tunnel-like passages away from the techno and picked up my jacket. It’s 7am and there is night.
I stepped deep into winter on a morning-night awaiting the futures’ happening.
This online publication has been written by Kent Chan on the occasion of his exhibition wherenow foreversummers installed in the poster frames of GAK.
“Re-Framing” is made possible with the kind support of Kultur.Gemeinschaften, the joint funding program for digital content production in cultural institutions of the Federal Government Commissioner for Culture and Media and the Cultural Foundation of the Federal States.
Kent Chan is supportet by Mondriaan Funds and Singapore Arts Council.