KS: As I look at the works of all my artist friends here, I’m thinking about why we do what we do. And I want you to throw this back to you? Why do we do what we do?
And I think an element in all this is that we are all making nothing. We are all making nothing. I don’t want to say this in a spiritual way. In the end it will become a dream, a memory.
But of course, nothing is actually something. But what is this something?
There’s a French philosopher, Jean-Luc Nansi, who specializes in this nothing. But coming from Buddhism, Japanese philosophies, nothing is actually something.
Ass a child, there were hiding spaces I liked very much. One was my father’s filing cabinet. The other was I would sleep at the foot of a big bed where my other siblings slept. And they were always spaces where a lot of new thoughts came to me.
So just now during Desire Machine Collective I sat in that little spot over there, like a little child’s spot. So these thoughts are coming to me. Why do we do what we do.
I am very curious because of all our Burmese friends who are not talking so much. Why are you here? Why do you do what you do?
Even for me, it’s very unusual to hear artists from Assam, from Sri Lanka, from Finland, in three hours. It’s very unusual for me. And the Flying Circus for me is always a magic time, a window that’s enchanted. And I think this is the question that I want to pose to each of us and myself, about why we do what we do.
My name's Ng Yi-Sheng, I'm a writer from Singapore, and I've been a Creative-in-Residence with TheatreWorks since 2006. I've served as blogger-documenter for two previous Flying Circus Projects: Singapore/Vietnam in 2007 and Singapore/Cambodia in 2009/2010.