Bio

Yee I-Lann (b. 1971, Kota Kinabalu, Sabah, Malaysia) lives and works in Kota Kinabalu. Her primarily photomedia-based practice, often situated at the shifting nexus of power, colonialism, and neo-colonialism in Southeast Asia, explores the impact of historic memory in social experience, often with a particular focus on counter-narrative ‘histories from below’. In recent years, she has started working collaboratively with sea-based and land-based communities and indigenous mediums in Sabah, Malaysia.

Selected recent solo exhibitions include Yee I-Lann: 2005-2016, Ayala Museum, Manila, Philippines (2016); ZIGAZIG ah!, Silverlens, Manila, Philippines (2019); Yee I-Lann & Collaborators: Borneo Heart, Sabah International Convention Centre, Kota Kinabalu, Malaysia (2021) and Yee I-Lann: Until We Hug Again, CHAT (Centre for Heritage, Arts & Textile), Hong Kong (2021), and At the Roof of the Mouth, Silverlens New York (2022).

Among her selected group exhibitions are the Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, Australia (1999, 2021); Jakarta Biennale, Jakarta, Indonesia (2015); Yinchuan Biennale, Yinchuan, China (2016); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center and Mori Art Museum, Tokyo, Japan (2017); Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung City, Taiwan (2019); STILL ALIVE: Aichi Triennale, Aichi, Japan (2022), and; the 17th Istanbul Biennial, Istanbul, Turkey (2022).

Yee I-Lann (b. 1971, Kota Kinabalu, Sabah, Malaysia) lives and works in Kota Kinabalu. Her primarily photomedia-based practice, often situated at the shifting nexus of power, colonialism, and neo-colonialism in Southeast Asia, explores the impact of historic memory in social experience, often with a particular focus on counter-narrative ‘histories from below’. In recent years, she has started working collaboratively with sea-based and land-based communities and indigenous mediums in Sabah, Malaysia.

Selected recent solo exhibitions include Yee I-Lann: 2005-2016, Ayala Museum, Manila, Philippines (2016); ZIGAZIG ah!, Silverlens, Manila, Philippines (2019); Yee I-Lann & Collaborators: Borneo Heart, Sabah International Convention Centre, Kota Kinabalu, Malaysia (2021) and Yee I-Lann: Until We Hug Again, CHAT (Centre for Heritage, Arts & Textile), Hong Kong (2021), and At the Roof of the Mouth, Silverlens New York (2022).

Among her selected group exhibitions are the Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, Australia (1999, 2021); Jakarta Biennale, Jakarta, Indonesia (2015); Yinchuan Biennale, Yinchuan, China (2016); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center and Mori Art Museum, Tokyo, Japan (2017); Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung City, Taiwan (2019); STILL ALIVE: Aichi Triennale, Aichi, Japan (2022), and; the 17th Istanbul Biennial, Istanbul, Turkey (2022).

Selected Works

Selected Works

Inquire about Yee I-Lann
Sulu Stories: The Ch'i-lin of Calauit
2005
787
1
digital c-type print
24.02h x 24.02w • in 61h x 61w cm
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Artist Proof 2
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Kinabalu Series: Anak Negeri
2007
788
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digital c-type print
41.73h x 80.71w • in 106h x 205w cm
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Artist Proof 2
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Kerbau
2007
790
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PVC billboard
108h x 384w in • 274.32h x 975.36w cm
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Edition of 3
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The Orang Besar Series: “YB” #3-5
2010
794
1
Inkjet (giclée) Pigment Print on Premium Luster Photo paper, mounted on aluminium composite using pH-neutral pressure sensitive adhesive
13.78h x 10.24w • in 35h x 26w cm each
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Edition of 8
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The Orang Besar Series: Fluid World
2010
799
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direct digital mimaki inkjet print with acid dye, batik crackle Japanese Ai natural indigo dye on 100% silk twill
50.98h x 111.81w in • 129.50h x 284w cm
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Artist Proof 1
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Picturing Power: Wherein one cultivates cultural codes, the noble endeavours of mankind and thereby puts them in their place
2013
803
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Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art, 310gsm 100% cotton rag
24.80h x 70.87w in • 63h x 180w cm
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2 Artist Proofs
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Tabled
2013
804
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Ceramic rimmed flat plates with digital decal prints and back-stamp
11 in diameter
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Edition of 5
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Nine-Dash Line
2017
805
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Inkjet pigment print on Hahnemuhle PhotoRag Pearl
86.36h x 287.02w cm • 34h x 113w in
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Edition 4 of 8
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MEJA
2018
806
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Split bamboo pus weave, Kayu Tuber black natural dye, Clear PVC glue
49.61h x 67.32w in • 126h x 171w cm
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Tikar-A-Gagah
2019
812
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Pandanus weave and commercial chemical dye
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"whoa whoa yeah yeah"
2019
813
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Split bamboo pus weave, black natural dye and matt sealant
87h x 125w in • 220.98h x 317.50w c
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TIKAR/MEJA with weaving by Kak Sanah, Kak Kinnohung, Kak Budi, Kak Kuoh, Kak Turuh, Makcik Lokkop, Abang Barahim, Abang Tularan, Adik Darwisa, Adik Alisya, Kak Daiyan, Adik Dayang, Adik Tasya, Adik Dela, Adik Enidah, Adik Norsaida, Makcik Bobog, Kak Rozia
2020
8800
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Bajau Sama DiLaut Pandanus weave with commercial chemical dye
variable dimensions
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Edition 2 of 2

A collection of 60 Bajau Sama DiLaut mats on which have been woven 60 tables. The table is a representation of administrative power and control – colonial, patriarchal, federal, state power. They are the opposite of the non-hierarchical, community-based, open platform of the tikar. Tikar/Meja forms a message from the people on the mat to the people at the table: The table can be rolled up, “eaten” by the mat. Like in a game of rock, paper, scissors.
Details

Selected Exhibitions

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