The Pocket Arts Guide (Sept Issue)

POP AND CONTEMPORARY FINE ART
Yayoi Kusama - Pumpkin YT - Screenprint
FEATURED ARTISTS:
ANDY WARHOL DAMIEN HIRST KEITH HARING YAYOI KUSAMA BURTON MORRIS TAKASHI MURAKAMI ROBERT LONGO ROY LICHTENSTEIN
390 Orchard Road, Palais Renaissance 03-12 Singapore 238871 Tel: +65 6735 0959 Hours: TUE - Sat 11:30 - 6:30 Sun12:00 - 5:00
www.popandcontemporaryart.com
T PAG Se pte m b e r 20 1 1 / I s s u e 23
Conte nts
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EDITORS LETTER ART WIRE
Galleries updates and events
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Angels in the Details: Raphael Abecassis
IN THE FRAME
PORTFOLIO: FINE ART FAIR

Timeless treasures for everyone
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20
Connecting the dots
FEATURE
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PORTFOLIO: MARKET VOICES
Where the classical world meets the modern age
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CHINA: Blurring the lines
ART LANDS
BUSINESS MODEL
Unpacking the White Cube
46 PORTFOLIO:
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Kaboom and bust!
STORY
52
Taking charge at Art Jog 11
SPACE MAP
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Art Galleries in Singapore
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Just Around The Corner
GLIMPSE
DIRECTORY LISTING 68 CLASSIFIED

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e dit or s
Dear Readers,
l e tte r
ISSN 2010-4375 / MICA (P) 130/03/2011
Editor-in-Chief
The September 2011 issue of The Pocket Arts Guide (TPAG) is filled with all the elements that have made it Asias Global Art Magazine. But as the publication has looked beyond the Little Red Dot, it hasnt forgotten the galleries and emergent artists who have helped kickstart Singapores innovative art world. In the last few months, the publication has become known in major cities including London, Hong Kong, and LA. There was a time when it was unimaginable that the publication could be handed out at art events in West Hollywood, as it has been in recent months. As one subscriber outside Asia commented, TPAG is perhaps unique in the way it at once covers very local content and art stories of global significance. No matter how wide our focus might be, we are committed to making all the stories relevant to Singapore, and that means helping its creative fire burn brighter globally. TPAG is also about giving Asian artists exposure in the cities abroad. This has resulted in some interesting developments. We are now the official media partner of Fine Art Asia, one of Asias premier art fairs and it is unique in the way it has combined antiques with contemporary art. This issue looks forward to Fine Art Asia 2011 in October, which is exciting for collectors globally and regionally, but it also includes some unique ingredients such as an interview with Pop and Contemporary Fine Arts Saskia Joosse on the gallerys awesome Yayoi Kusama exhibition. Art Lands looks at China with coverage of traditional ink-and-brush artists and exhibitions in Singapore. Enjoy the variety, the insights and, most of all, the interesting ideas that make each issue unique.
Remo Notarianni
remo@thepocketartsguide.com
Art Director
Melvin Ho
melvinho@thepocketartsguide.com
Contributors
Gladys Teo, Bonnie E. Engel, Bharti Lalwani
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General enquiries and feedback
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On the Cover
Remo Notarianni
Editor-in-Chief
Raphael Abecassis, Psalms of David, Original watercolor and Gouache 2007, 100 x 70 cm Represented by Bruno Gallery
04 TPAG | Sept 201 1
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Published monthly, complimentary copies of TPAG are available at several places in Singapore, Hong Kong and the United Kingdom. SINGAPORE: Copies are distributed at the Singapore Art Museum (SAM), Singapore Tourism Boards Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Art Trove. Pop & Contemporary, Bruno Art and Indigo Blue Art) HONG KONG: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. THE UNITED KINGDOM: TPAG is available at select cafes and art venues around the UK and complimentary copies can be found in major galleries, including the Alan Cristea Gallery, in London. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.
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All advertising bookings and materials for TPAG should be received by 21th each month. Printed in Singapore by International Press Softcom Limited. Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 2010-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches. The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.
art wire
Framing the framed 01.09.11 30.09.11
Indigo Blue Art www.indigoblueart.com

Singapore
Liu Kang A Centennial Celebration 29.07.11 16.10.11

Singapore Art Museum www.nationalartgallery.com
Singapore
Nobuyoshii Araki: All Women are Beautiful 07.09.11 23.10.11
Galerie Steph and Ooi Botos www.galeriesteph.com

Singapore
The behavioural patterns of the Indian middle class, the rising social malaise in contemporary society and the role of the State sets the stage for P.G. Dineshs off the wall characters in his first solo exhibition in Singapore. His works communicate subliminally and brazenly, but not without an astute sensitivity to prevailing societal changes, the tensions faced by the middle class family in keeping up appearances and moral uprightness while drawn to a lifestyle filled with avarice and decadence. Artist P.G. Dinesh was born in Thissur, Kerala. The dialect of Thissur is noted for its flair of witticisms, quips and jabs, expressed through clever wordplay. Hence, Dineshs brand of humour is not unusual if it is understood in the context of the very regional ethos from where he hails.
This exhibition marks the centennial year of the birth of Liu Kang one of the most influential Singaporean artists of his generation. Known for his Balinesethemed figurative paintings, Kang skillfully fused elements of art and tradition from different continents in his work. To commemorate the 100th year of Liu Kangs birth, the National Art Gallery, Singapore, together with the Global Chinese Arts & Culture Society and Lianhe Zaobao held a forum titled Liu Kang: Tropical Vanguard on Saturday, 2 April 2011. The forum brought together a panel of established artists to discuss Liu Kangs significant influence and contributions to Singapores art history, the local and international perspectives of this pioneering artist, and his many facets as a leader and visionary of the Singapore art community.
Galerie Steph, together with Ooi Botos, is pleased to present the first-ever Singapore gallery exhibition of famed and controversial Japanese photographer, Nobuyoshi Araki. This solo exhibition is titled Nobuyoshi Araki: All Women are Beautiful. The exhibition looks at the photographers often controversial language of sensuality. Araki has made a name for himself with his own insightful look at the world around him and at the human form. His work has been admired by artists and celebrities globally. Featured are large format colour photographs and unique Polaroid prints from the series Novel Photography (1995), 67 Shooting Back (2007), Pola Eros (2006 - 2009), Sky (2006 - 2009) and Pola Nostalgia(2011). The exhibition is a stunning event both for Araki enthusiasts and as an introduction to the artist.
Deadlocked 25.08.11 01.09.11

Galerie Sogan & Art www.soganart.com
Singapore
Intimacy 02.09.11 25.09.11
LHomme qui Plantait des Arbres 07.02.11 0

Tokyo Museum of Contemporary Art www.mot-art-museum.jp Japan
Yavuz Fine Art www.yavuzfineart.com

Singapore
In Utterly Arts first collaboration with Galerie Sogan & Art, we present the first solo sculpture show of UOB Painting of the Year award-winning artist Joel Yuen, who actually won for his photographs in the 2008 competition. In Deadlocked, Yuens mixed media wood sculptures of figures assume a rather primitive aspect, alluding to the ties that bind the city together. With a short history, Singapore is still in the process of carving out its own national identity. The 28-year old Singaporean-Chinese, English-educated Roman Catholic is in a constant negotiation between cultural influences from China and Western ideology. As art is moving beyond a national domain, the answers would take forever to unravel but this exhibition is a good place to start an important debate.
Yavuz Fine Art will present Intimacy, a group exhibition that looks at the emotional and philosophical ideas between the safe harbour of conventions and the need to express individuality. The works these artists create using media such as photography, painting, drawing, video became a medium of their individuality. These are ways to express their individuality while developing an intimate relationship with the subject itself. The artists include Ahmad Abu Bakar,Eric Lai, Ezzam Rahman,Lester Lee,Sai Huan Kuan, Stella Chang, Stellah Lim, Susie Wong, Tang Ling Nah. The artists in their own unique ways, reveal how individuality and the group can coexist in harmony and through such work, a unified statement is made that can be understood on political, personal or spiritual levels.
Canadian artist Frdric Back (born 1924, Saarbrcken, currently living in Montreal) has won two Academy Awards. With cooperation from Japans Studio Ghibli, this exhibition presents his most famous animation along with some groundbreaking work that makes him a unique award-winning artist, with worldwide recognition. The Man Who Planted Trees, as well as approximately 1,000 valuable works, including original artwork from his representative works and drawings produced while he was living in France until 1948 are presented at the event. The retrospective is a unique showcase that is artistically autobiographical. It will be the first comprehensive introduction to the imaginative world he creates through his art, a world which presents a rich insight into the environment, Native American culture and the problems facing the world today.
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art wire
Belgravia Gallery at Asia Fine Fair October 3 7 NY 10048: Photographs of the World Trade Center from the Early 90s. 02.09.11 15.09.11
The Fringe Club www.hkfringe.com.hk
Hong Kong
Beyond Walls 04.0911 01.10.11
Hong Kong
Asia Fine Art Fair www.belgraviagallery.com
Blue Lotus Gallery www.bluelotus-gallery.com

Hong Kong
Hong Kong photographer Gretchen So took a series of subtle black-and-white photographs of New Yorks Twin Towers in the early 1990s. The images emphasise the overwhelming presence of the iconic buildings in reaching beyond their immediate space and time. This year marks the ominous 10th anniversary of the destruction of the towers. The exhibition also reveals how such behemoths can shadowy pawns on a strange geo-political chessboard that affect us. Our emotions become shattered by forces we may know nothing about. The eerie exhibition also makes us realise the power of photography to document life. Following the tragic event on September 11, 2001, in which planes were flown into the buildings by terrorists, the images have taken on a new meaning.
In this exhibition, Hong Kongs Blue Lotus highlights some of its artists previous achievements and future possibilities. It also highlights the additional role of Blue Lotus as a consultant for sourcing and commissioning artwork for public art projects. The participating artists are Hong Kong-based German artist Cornelia Erdmann, Hong Kongs Danny Lee and Wong Tin Yan, American Lynn Basa, and the Hong Kong-based Dutch artist Simone Boon. The artists have unique ways of shaping the skyline and our world. The exhibition highlights how enriching works of art can be when applied to commissioning projects. If more creativity was allowed to shape the structures and environment around us, there would be more than boxlike architectural structures in Hong Kongs skyline, thanks to artists such as these.
Belgravia Gallery will announce a retrospective exhibition of watercolours by architect, A. Eugene Kohn in conjunction with Hong Kong Land and Kohn Pederson Fox Associates that runs from October 1 to October 14. Known internationally for his prominent works of glass and steel, Kohns thoughtful watercolours reveal a deep understanding of colour, freeness of line and form. With contacts throughout Asia, Europe and the United States, Londons Belgravia Gallery, opened its first international office in Hong Kong in January, 2011. It offers art advisory services to private and corporate clients looking for works by established or emerging artists. Belgravia Gallery is participating in Fine Art Asia for the second year. The gallery is exhibiting a selection of works by Rembrandt, Andy Warhol, Pablo Picasso, Lincoln Seligman, Charlie Mackesy and fine paintings by significant post-impressionist painters art the fair. Booth number at Asia Fine Art Fair: J1.
GORDON CHEUNG: The Light That Burns Twice As Bright 14.09.11 05.10.11
The Alan Cristea Gallery www.alancristea.com
London, UK
Jacob Kassay 02.07.11 02.09.11
L&M Arts, Los Angeles www.lmgallery.com

USA
Mabini Art Project 19.03.11 19.03.12
Gordon Cheung sees the world like a moral tourist on a great divide. His images highlight how we sit comfortably, often unaware, in the glow of flames that eat into modern life. The images are like snapshots of a paradoxical purgatory. We look through the windows of a hotel at a reality based on consumptive comforts such as hi-tech entertainment and electronic media in a space that blurs colour, shapes. In this exhibition, the images exude Cheungs signature colours like a rainbow crushed into dark shadows. An image of the rodeo, might symbolically articulate the aimless dance of the modern world, and it shows how comfortable we are with it allperhaps without knowing where to go in a storm of electrical confusion.
This is Jacob Kassays first solo show on the West Coast. In this exhibition, Kassay continues his dialogue with colour field and minimal painting, while additionally considering and creating a unique environment for these works to inhabit. Kassays previous silver paintings used depth, light and relief to activate these spaces. Here the new work also surprises with groupings of canvases in blush tones and pure silver deposit, using similar minimal restraint yet differing in scale, shape and tonal variation. A new idea in the work is that it suggests dancers in a ballet studio or a choreographed performance. This installation conceit engages Kassays interest in artist collaborations such as Rauschenberg and Johns designing sets for Merce Cunningham performances. This combines a history of multi-media collaborations.
Ataneo Art Gallery http://gallery.ateneo.edu The Philippines Juxtaposed with the Ateneo Art Gallerys permanent exhibition, In the Eye of Modernity which showcases the museums core collection of modern Philippine art, Alfredo and Isabel Aquilizans Mabini Art Project stands as an invitation to reassess a fascinating genre of art. Mabini paintings grew out of the traditions of conservatism, and are defined by a folk aesthetic possessing scant or no interest in theoretical discourse. In spite of the apparent triumph of modernism in the Philippines, however, Mabini paintings thrive. While far from being conclusive, Alfredo and Isabel Aquilizans Mabini Art Project attempts to shed new light on this enduring art practice by offering perspectives that transcend both context and aesthetic. In doing so, their works put a spotlight on a corner of the Philippines.
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IN THE FRAME
Angels in the Details
Jerusalem Harp 26 x 18.75in
Raphael Abecassis
Text by Remo Notarianni
Jerusalem 25.5 x 19.75in, Watercolor and Gouache.
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IN THE FRAME Raphael Abecassis
King David 19.5 x 13.75in
Jonah the Prophet 19.5 x 25.5in
he art of Raphael Abecassis explodes like creative confetti in a marriage of the abstract and the symbolic. His poetic images are inspired by Art History, his Jewish-Sephardic heritage, and a visually rich upbringing. My mother was always doing colourful decorating and changing the furnishings at home, recalls the Israel-based Abecassis. There were Sephardic and Moroccan artifacts in our home. But as an artist, I am inspired by everything good in nature, from the plants to the sea and the natural flow of the world that The Almighty renews every single day. This cyclical revitalisation makes me happy. Born in 1953 in Marrakesh,
Morocco, Abecassis artwork documents a journey marked by cultural motifs and artistic epiphanies. Before marriage, he presented his future wife with a Ketubah, a traditional Jewish marriage document, and despite the Rabbis conservative doubts, Abecassis insisted on painting it. This gesture proved monumental and he continues to create tailor-made, artistically unique Ketubahs for both brides and grooms. Abecassis can be seen as an illustrator of heritage who reinvigorates it with his own unique vision. Since I first started painting, I felt an urge to belong to the lineage of Jewish artistry, said Abecassis. At first, I hand drew traditional
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Genesis 27.5 x 19.5in
Jewish art on paper. In a sense, I was greatly influenced by ancient but simple Jewish art. Then, I began painting concepts from the Bible and this brought on an inner change which required me to let go of the influences created by ancient artwork. I could begin drawing something new. All of my work comes straight from the heart and it is down to the tools that I use to create it. I do not sketch out my work. I create images that come directly from my subconscious. His vibrant colours flow onto the canvas like a rainbow of history. Like a timeless natural scene, the images appear strong, bold and brave, but with a calming effect. This vibrancy allows the stories to be retold through modern colours and environments. Abecassis describes a trance-like process in which a flood of images from his subconscious connects him with internalised millennia-old stories. In every picture I draw there is a message and a tale, reveals Abecassis. My topics are mostly clas-
I do not sketch out my work. I create images that come directly from my subconscious
sical Bible stories, and I am very fond of the story of Jacobs ladder: a ladder that connects the material world to the spiritual world. I think of it as a clear ladder that is found everywhere, it can be right next to us and also far away. This ladder can cling to us if we only open our eyes to it and stay on the path of righteousness, attempting to keep away from doing to others what we dont want others to do to us. So to me the ladder is a wonderful subject and a symbol of the good in the world. Its beautiful colours bring upon us successes and blessings. The ladder is the object in which the angels climb and descend to from the material and spiritual world. According to Abecassis, the visual messages promote good deeds and protection from evil. The more
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good deeds we do in life the more angels we create. Ultimately good will prevail, bringing peace and harmony to the world around us. Acts of goodwill are coded into the angelic forms of his compositions, seen adding light and colour to art pieces, as swirling cosmic messages break through eddying forms, from curve to line, as clear as the Hebrew written into the artwork and universally resonant. The watercolour and gouache painting Psalms of David, reflects this fluid release of the spiritual into a material artistic form. And it was through a fateful calling that Abecassis, at the age of 21, made his foray into the art world. After leaving the army in Israel, he felt compelled to sign up for an art course. Without any prior art experience and a portfolio to work with, the work that Abecassis created for the entrance exam defined his later style. Abecassis has
worked with a number of different techniques including decoupage, in which layers of a canvas are cut back to make it look threedimensional. With these varied influences, he, who has also been influenced by Jewish mysticism such as the Kabalah, and sees his work as a hand-painted spiritual gift to the world. As well as traditional readings, my ideas come from a variety of places and cultures, said Abecassis. I attempt to create concepts that everyone can associate with, themes that relate to spirituality and those that connect each of our souls together through colour and composition. Raphael Abecassis is represented by Bruno Gallery in Singapore. Contact: 6733 0283. Email: singapore@brunoartgroup. com
Shabbat 31 x 20.5in
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FEATURE
Dawn, Screenprint 52.8 x 45.4 cm Edition size 100, 1989
Connecting the dots

Text by Bharti Lalwani
Dots (xyztt), 145.5 x 115 cm, Acrylic on canvas. 2008
op and Contemporary Fine Art is proud to present one of the worlds most important living, contemporary female artists Yayoi Kusama. Kusama has exhibited all around the world and participated in several biennials, including Singapores first biennial in 2006, and been the subject of numerous books, publications and documentaries. A major retrospective of Kusamas artwork is being shown at the Reina Sofia in Madrid. This exhibition will then tour the Pompadour in Paris, the Tate Modern in London and the Whitney Museum in New York. Her artwork has been the inspiration for luminaries such as Andy Warhol and Takashi Murakami. Kusama enjoys a huge
global appeal and the Japanese legend has a diverse following. This has been quite a year for the avant garde artist Yayoi Kusama, with an ongoing retrospective at Museo Nacional Centro De Arte Reina Sofia, Madrid, Body Festival in 60s at The Watari Museum of Contemporary Art, Tokyo this month and a major exhibition of new works at the Victoria Miro gallery, London last month. The Dots Within will be showcased in the Ion Orchard Art Gallery from the September 12 to October 2, 2011. TPAG spoke to Pop and Contemporary Fine Arts Saskia Joosse about how Kusamas dots made their way to the little red dot and the impact of her work.
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FEATURE Connecting the Dots
TPAG: Tell us about the exhibition youve organised at ION this month entitled The Dots Within.
I had the rare privilege of speaking with Kusama earlier this year when she indicated that she would love to have an exhibition of her work in Singapore. As I am a great lover of her work, it was just a matter of getting a suitable venue, sponsorship and putting in lots of hard work in order to make this happen. We have a keen interest in developing the cultural fabric of Singapore with exhibitions of the highest calibre. We also believe that such art exhibitions need to be free of charge and easily accessible to the public.
TPAG: What sort of deliberations were made in choosing the artworks for this exhibition?
duces an absolutely stunning effect. And in order to not disappoint her fans, we will be exhibiting a selection of her signature pumpkins, in different shapes, sizes and colours.
TPAG: It is indeed incredible that at the age of 82 she is still producing new works of art. Which is the earliest piece in this exhibition?
We will be showing a beautiful watercolour from 1978, called Mountain and Cloud and we also have a large canvas dot painting, from 2008 which will be the latest piece on display. In Kusamas work, one will observe in her compositions either her classic polka dots or her so-called infinity nets, or of course both, that touch upon her belief in the infinite nature of the universe.
TPAG: Kusama has led a most curious life, growing up in a war torn Japan, all the while coping with hallucinations, and then leaving her wealthy family to go to New York in the early sixties to make it as an artist, and indeed land herself at the forefront of feminist critique through her art. I would go as far as to say that she pre-empted Andy Warhol and the Pop Art movement when it came to the mass repetition of images and themes, she certainly had more fame than Warhol at one point due to her risque avant garde performances.
I wanted this to be an intimate exhibition which would give people a glimpse into her artwork. I find it intriguing and magical. I have therefore drawn heavily from my own personal collection. I also chose to include a wide variety of print work as repetition is an integral part of her art. Print work gives the artist the ability to interact and engage with a much wider audience and also gives a collector the opportunity to show the progression of an artist from the beginning to the end of his or her career. We will be showing some of Kusamas Lam artwork as well; these are pieces created with a glitter application process which pro22 TPAG | Sept 201 1
Repetitions are an important feature in her artwork that has been seen
Pumpkin, Screenprint 62.8 x 54 cm. Edition Size: 100, 1990
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FEATURE Connecting the Dots
Saskia Joosse of Pop and Contemporary Fine Art, Singapore. Morning Sun, Screenprint 83 x 63 cm, Edition Size: 60, 1999.
constantly throughout the years. Repetition is also something very apparent in Pop Art in general. There is a story that Kusama has related in the past about Andy Warhol asking her permission to use repetitions in his work, especially after seeing her creations. She is quoted as asking him not to do so, something which clearly he ignored.
TPAG: She was also one of the first artists who unabashedly merged art with commercialism by selling mirrored orbs at the Venice Biennale in 1966, I believe you have a very special piece on display which harkens back to the Narcissus Garden. Tell us about it.
facebook.com/pages/Pop-andContemporary-Fine-Art-Singapore/212355091857
TPAG: What would you like the audience of Singapore to take away from this exhibition?
The piece that you are referring to is called Mirror Box, it is a difficult piece to describe: From the outside it is a polka dotted box with a small spy hole. From the inside, the four sides are mirrored with silver orbs on the red carpetted floor. So when you peep into it, you are transported into the room and it is a world of silver orbs. I call it a mini portable installation! When I saw this piece I fell in love with it and at the time my husband was struggling to find a birthday present for me and offered to buy it as a gift.
TPAG: You are also showing a film of Kusama...
First and foremost I would like people to walk away with a better understanding of this significant artist. Yayoi Kusama, without a doubt, is not just one of the most important female artists but also one of the most important living artists of our time who is collected around the world and has a great following. I also hope that it gives people a better understanding of print work and its importance as a medium in its own right, I still feel that people do not fully understand it and therefore, incorrectly, dismiss its significance for the artist and for the art world in general. Finally, I would like people to walk away feeling that we are all beautiful coloured dots in a Yayoi Kusamalike universe.
TPAG: Will you be doing similar exhibitions on Pop Art in the future?
Yes, Eleven Arts has kindly allowed us to screen the 2008 Yayoi Kusama documentary I Love Me. We will be showing the movie, free of charge, daily. Please consult our Facebook page for hours: www.
We are looking to do a major Burton Morris Exhibition next year, which will again be non-commercial. Burton Morris is a tremendously gifted artist and I feel, still a tad under-appreciated. He executes wonderful unique works on canvas which are extremely well thought out, happy and emotive. This will be our next major exhibition project and one that Im looking forward to!
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ART LANDS
C H I N A
Blurring the lines
Wucious Wong, Great River 4 (2004), 83 x 83cm
CHINAS MODERNITY APPEARS TO BE OUTPACING ITS TRADITIONS IN THE 21ST CENTURY, BUT ITS INK-AND-BRUSH ARTISTS CONTINUE TO APPEAL AS THEY ADAPT TO CHANGE
Text by Gladys Teo
t is fair to say that the practitioners of Chinas traditional ink-andbrush painting have been playing second fiddle to its oil painters and conceptual artists in terms of recognition. With modern sensations such as Zheng Fangzhi,Yue Minjun, and Zhang Xiaogang making Chinas contemporary art global, its traditional artisans risk being clouded by the incense of history. But in 2011, works of ink painting have enjoyed major exhibitions in international museums and reaped rewards in auction houses. Painting with brush and ink on rice paper, synonymous with Chinese identity, is perhaps embedded in the national DNA. Christina Sui of The Luxe Art Museum/Yisulang Art Gallery is an ardent supporter of Chinese contemporary ink painting. In curating her recent exhibition of 2004 freehand Chinese ink paintings by selected renowned artists, she presents a diverse collection of works that differ dynamically in terms of techniques and themesusing the same tools of ink, brush, water and rice paper. Such elements are fluid, soft and fragile, yet when used together can produce astonishing works of strength and suppleness, rigidity and flow.
Li Jin, Satiated 1 (2004),136x68cm
Fantasies of form
The integration of geometrical design and majestic landscapes characterise the paintings of Wucius Wong. In his Great River series, a kaleidoscope of fragments is accomplished with a combination of Western design concepts
and classical Chinese ink painting, the interplay between brushstrokes and negative space form the backbone of his creations. In Tian Limings Ancient Philosophers on a Mountain, the features and configurations of the figures are excessively blurred, giving a misty air effect that evokes, in the imagination, a divine, mysterious mountain paradise. Modern themes of greed and sin are explored in Li Jins Satiated series. Uncharacteristic in every aspect, Li paints mistress figures dressed in modern garb such as midriff tops and jeans, fussing over a male protagonist sitting in front of a delicacy-laden table. Even the traditionally heavy, determined brushstrokes of old ink masters have been replaced with delicate,
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ART LANDS China
The balance between repression and freedom is often addressed in Chinese ink painting.
feathery outlines and colouring that give a light-hearted, humorous feel.
Adding oil
Mr Seah Shin Wong from Singapores Heng Artland has organised more than 150 exhibitions since 1984. He recognises the power of Chinas influence in the international art market. China plays a very important role in creating the awareness of art value, he said. People are starting to examine the trends in Chinese buying at international art auctions like Sothebys and trying to make sense of how the Chinese perceive art and value. Mr Seah, with his connections with artists at the Beijing Institute of Fine Arts, has focused on oil paintings in recent years. I like to know my artists first, its important to find a match between clients and artists. My role is to create a 3-win situation, where the interests of the artist, client and gallery are all equally considered. Mr Seah however has the full intention to return to ink paintings. Heng Artland plans to stage a Chinese calligraphy exhibition in October, and in December. Mr Seah similarly observes how in Singapore there is a general preference for oil paintings, despite a select group of 40 to 50 collectors who show an appreciation for ink paintings. In fact, it is the quality, not the medium, that is more important. I find that my collectors are open to collecting both oil and ink paintings if the art is good. It is possible to
Classical illusions
Cai Guangbins Window is visually spectacular and one could easily mistake it for a black and white photograph. Influenced by photography which is a contemporary medium, Cai uses classical ink and paper to achieve the effects of photographic tone, light and shadow with perfection. Hai Rihans intention of invigorating traditional ink painting with primal energies is evident inEcho. His raw strength and dynamism is manifested in bold, strong strokes and large colour patches, achieving the effect of abstract oil paintings. He subtly fills these patches with images of a subconscious world, suggesting the liberation of suppressed instincts. The balance between repression and freedom is often addressed in Chinese ink painting. The reflective, spiritual nature of Chinese ink painting has traditional roots in China, Hong Kong and Taiwan where there is a large community of collectors and supporters of contemporary ink painting today but it is yet to internationally translate.
Cai Guangbin, Window . Strangers (2002), 210x175cm
Hai Rihan, Echo 116 x111cm
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Jia You Fu, High mountains 66x137cm
Zeng Chuanxing, PaperBride Series 150x130cm
ART LANDS China
find a spiritual connection between both forms, and this transcends the medium altogether.
Marriage wows
Mr Seah points to the works of Chen Junde, a Chinese artist from Zhejiang province whose oil on canvas work is strongly influenced by Fauvism. Chens paintings are known for their bold, flamboyant strokes and sensitive, harmonious colours. Like most Southern Chinese artists, Chens works are light-hearted and circulate around an aesthetic discourse of birds, flowers and rivers. It is evident that he is influenced by French classics with an emphasis on colour, deft brushstrokes and soft composition. In the paper works of Jia You Fu from Hebei province, the colourful oil compositions of the artist have been achieved with sombre, majestic inks. Specialising in landscape paintings, Jias works are inspired by the grandeur of the Taihang Mountains, and are particularly noted for their technical treatment of modulating ink tones. Jia is renowned internationally for his skills in splashing, accumulating and breaking up ink (using colour
to break water, vice versa). Typical of the Northern Chinese style, Jia focuses on tall, austere mountains with dull colours, portraying magnificence, and overwhelming grandeur rendered with strong, determined brushstrokes. Heng Artlands upcoming exhibition, titled Myth, Paper Brides, looks at the line connecting artist Zhang Qiang and his student Zeng Chuanxing. Zhang depicts the traditional female form in mythical themes, using delicate brushstrokes with soft, light finishes that add to the fantastical beauty of his female protagonists. Viewers are treated to a visual spectacle, wondering how Zhang uses Western techniques of oil on canvas to express traditional themes and stories, at the same time achieving the soft, smooth lines that are characteristic of ink on rice paper works. On the other hand, Zengs crisp determined strokes paint brides in paper gowns, representing the fragility and uncertainty of modern marriages. The realistic portrayals of brides contrast with the fantastical notion of them wearing paper gowns and this represents Zengs departure from his teachers fantasy creations.
New Freehand Chinese Ink Painting runs from 15 July - 25 September at The Luxe Art Museum, 6 Handy Road, Singapore. Myth, Paper Brides runs from 23 -29 August at The Arts House - Gallery, thereafter 30 August - 11 September at Heng Artland #04-08 @Paragon, Singapore.
31
STORY
Kaboom and bust!

Text by Remo Notarianni
VAROOM! (1963) Roy Liechtenstein
hose who remember when caped comic book heroes bounced off skyscrapers in three point perspective must be saying Bleah! these days, as they watch their children zap villains on a Nintendo DS. The modern superhero needs major film funding to be able to fight anything, said American comic artist and sculptor Digger T Mesch who has worked with companies such as Marvel. Comic sales are dead. Its all about getting that property on the big screen now. Clark Kent may be doing extra shifts in the newsroom, perhaps as a part-time proofreader, with the realisation that the elegant frames his Superman took flight in were storyboards. If cinema is the only hope, what becomes of the art of comics itself? Comic art was once so everyday that American Pop artist Roy Liechtenstein made it a major theme of his work. Freeze-framed by Pop Art appreciation that puts form before content, with the same afterlife that Warhol gave to Camp-
bell Soup tins, the American comic book hero seems lifeless but fallen heroes are sometimes part of the story. However, according to Hong Kong artist, writer and filmmaker Hongkaz Fung Hing-keung, comic sales have dwindled in Hong Kong, not only because of changes in the industry but also because the comic, which in American society may have been largely read by children, has lost its social significance. Comics were once educators of traditional values about good and bad in Hong Kong, said Fung who worked on comics such as Bruce Lee and Drunken Fist. They were read by ordinary people looking for heroes who stood up to the hardships of life and these hardships were part of the economic challenges of the time. The social hardships of the 1970s found visual representation in the cultural symbolism of Chinas Manhua, the equivalent term in Japanese being Manga. But with the 1980s a watershed period in Hong Kongs economic development, the territory grew into the
WHAAM! (1963) Roy Liechtenstein
33
STORY Kaboom and Bust!
Hong Kong became wealthy in the 1980s and entertainment like comic books was popular among the nouveau riche, Fung.
entrepot it is known as. The comic stories of the seventies were full of physicality and kung fu dynamism that resonated at a visceral level. This graphic violence could have been cathartic to the average person engaged in a fight for survival. The immensely popular comic Little Rascals, which was first published in 1970 was a story about gangsters and triads in public housing estates. The iconography had Wuxia characteristics, but the graphic violence, which saw guts as well as blood spilled, led to government intervention and the Indecent Publication Law in 1975 banned Manhua comics. Tony Wong Yuk-Hang, who created and published the comic through his company Jademan Comics, sidestepped this by relaunching the story as Oriental Heroes. As the success of such comics continued into the 1980s, economic changes permeated the industry itself. Hong Kong became wealthy in the 1980s and entertainment like comic books was popular among the nouveau riche, said Fung who worked for Jademan comics but left comic illustration in the 1990s. But as a lot of the manual labour and handicraft industries moved
across the border said Fung to become a graphic designer. Education became the benchmark of success, and people didnt become comic artist apprentices anymore. Wong faced stiff competition from the enormously successful A Chinese Hero: Tales of the Blood Sword, the story of a Chinese man embroiled in a world of gangsters and racial discrimination in the United States. But by the nineties, even its run had dropped from 200,000 to 60,000 copies per issue. Comic companies began to cut costs and a new generation of educated and globally-minded Hongkonger was interested in a very different, especially as the sons of the diaspora returned. The decline of the Hong Kong comic was inevitable as technology fragmented entertainment, but it signals a generation of people fighting for new things. Perhaps like Clark Kent, Hongkongers are now stuck in their offices, and the heroes they really need are people who can help them pay their mortgages or battle for universal suffrage. In the 1990s.the values of people in Hong Kong changed, and the comics that were produced were out of pace with society, said Fung. Hong Kong Comics were still stuck in the 1970s and this caused people to turn away from them. The comic hero certainly needs to adapt to changing times especially if he or she wants to return to the page instead of move to the screen.
Hong Kong comics such as Little Rogues reflected the harsh reality of everyday life in the 1970s.
The comic Chinese Hero was popular in the 1980s and sales dropped in the 1990s.
35
GLIMPSE
Just Around The Corner

Text and images: Duggie Fields
LONDON ARTIST DUGGIE FIELDS HAS LIVED IN THE SAME EARLS COURT FLAT SINCE 1969. THE RESIDENCE BECAME THE SETTING OF HIS LIFE AS HIS WORK WIDENED ITS HORIZONS.
The space I inhabit, in one way or another, began to be photographed over 40 years ago. Pictures of it have been shown somewhere in a magazine, book, or exhibition of some sort every year since. Published in Australia, Russia, Japan, America, France, Holland, South Africa, Germany, and Italy; and filmed for television in the UK, Poland, Germany, France, America, Russia and Japan it started being labeled Retro in the early 1970s, a Gesamkunstwerk by the mid 70s, and defined as Post-Modern in 1977.
SELF PORTRAIT , Acrylic on canvas. 1977
MALCOLM, Digital image after 1971 canvas, 2007
YOSSY, Digital image 2007
Many attempts at self-definition later, in the mid-1990s, I formulated my MAXIMALism mini-manifesto. Co-existing with a creative entry into the virtual space of digitised computergenerated media came the words that attempted to fix the concept: MAXIMALism=minimalism with a plus, plus, plus. References surround and multiply both inwardly
and outwardly they inform. Inspiration from many sources, the decay of the classical, romance of the ruin, the works/homes of artists such as Picasso, Dali, Matisse, Miro, Mondrian, Francis Bacon, Kurt Schwitters, many others, some conscious and some unconscious. They all echo from my mind into the space around.
37
GLIMPSE Just around the corner
Faith, Acrylic on canvas, 68x60 1988 Theory, Acrylic on canvas, 60x60 1967
My home, one of privileged existence at a price, has kept me to this spot, sometimes wonderful, sometimes trapped. I have walked its floors for countless miles, for years breathed only its air, seen only its horizons certainly spent the greater part of my life in this
enclosed, defined space, and most of that on my own. The need for solitude to create, to function, to work, has taken precedence ultimately over other domestic occupationspleasures, past-times, relationships, and entertainments.
The photographs featured were taken on the artists mobile phone. From just around the corner in the local streets he has walked so often through the years, they have expanded with travel across London and back again, and again.
Tree of Life, Digital image 2001, acrylic on canvas 84x84 2001
ON THE TOWN (HISTORY PAINTING), Digital image 2000, commission for TRANSPORT FOR LONDON
The definition of an ideology necessitates both speculative conjecture and perceptual intuition of motivational impulses. On entering into virtual space, my working world expanded in ways and means unforeseen. Coming, with the creative spread from the canvas and the home around, into areas of music
production and animation, developed from spheres of influence and input into unexpected combinations of work/play. Physically, the virtual world offered more space, forced me to learn new tools, new techniques, and to expand from the confined realinto it. In the process, I was Maximalised.
http://www.blurb.com/bookstore/detail/2060035
39
PORTFOLIO: Art Fairs
Timeless treasures for everyone

By Bonnie E. Engel
Qiu Jie (b.1961) Summer Cool 2009, Pencil on paper 39.37 x 55.12 in (100 x 140 cm) Michael Goedhuis, London
H
Aquamarine and Ruby Belt with a Buckle Necklace. Designed by Fulco Duke of Verdura, for Paul Flato New York, c.1935. Siegelson, New York
Chinese chair single. 2001, Property from the Estate of Virginia Carroll Crawford, Lot 90. Carlton Hobbs, New York
ong Kongs Fine Art Asia (formerly the HK International Art and Antiques Fair) might appear to focus on antiques, but it has turned into something for everyone. This years event will most likely have treasures that appeal to a plethora of collectors painting and other fine arts, furniture, antiques, precious jewellery and silver, European or Asian objet darts, and collectors are presented with extraordinary choices. Contemporary Chinese paintings, sculptures and modern art each attract their type of specialist collector and with the 80 exhibitors at the event some collectors may be spoiled for choice. In addition to the growing Hong Kong collectors group, there is strong evidence at the auctions and in the global art market that the newly affluent Mainland Chinese collectors are diversifying their interests in different areas of art quite quickly. Some are taking unexpected directions, surprisingly collecting Impressionist and Modern Paintings, as seen at the 2011 Christies and Sothebys auctions and Seoul Auctions in Hong Kong. European Silver, European furniture and objet darts of all kinds are proving popular as well. Arguably, this has taken the focus of the fair beyond antiques. The amazing array of museumquality exhibits will range from ancient Chinese stoneware, Hima-
41
PORTFOLIO: Art Fairs
Camille Pissarro (1830-1903) Paysannes Ramassant des Herbes, Eragny (Peasant Women gathering hay, Eragny). Signed C. Pissarro and dated 1886, Oil on canvas, 15 x 18 1/8 in/38 x 46 cm Gladwell & Company, London
A Rare Carved Polychrome Lacquer Octagonal Dish of a Winged Dragon, Ming Dynasty, Jiajing mark and period, 20 cm. Martin Fung Ltd, Hong Kong
Turban brooch. Made in 1911. Lucas Rarities Ltd, London
layan bronzes, Chinese ceramics and works of art, furniture, textiles and jade, to fine jewellery, antique silver and exceptional modern and contemporary artworks from Asia, Europe and America. Hong Kong galleries such as Grotto will bring contemporary Hong Kong artists work to the fair. The Sundaram Tagore Gallery brings an eclectic mix of Asian, European and Indian works, while one of Hong Kongs oldest galleries, Plum Blossoms, exhibits contemporary Chinese artists. The 2011 fair has already attracted major Western dealers, such as Mallett from London and Carlton Hobbs from New York, the top antique silver dealer in the world, Koopman Rare Art, plus several leading galleries from Paris as well as many galleries from around Asia. The sheer diversity of the exhibitors demonstrates the power of this Fine Art Fair. Leading international dealers returning to Fine Art Asia 2011 include Michael Goedhuis (London), Robert Hall (London), Rossi & Rossi (London), Robert Kleiner (London), Sundaram Tagore (New York, Beverly Hills and Hong Kong), Kai-Yin Lo (Hong Kong), Somlo Antiques
(London), Teresa Coleman Fine Arts (Hong Kong), Jacqueline Simcox (London), Nicholas Grindley (London), MD Flacks (New York) and Galerie Dumonteil (Paris and Shanghai). New renowned dealers attending the fair this October include Veronique Bamps (Monaco), Robert Bowman Gallery (London), Littleton & Hennessy Asian Art (London, New York), Priestley & Ferraro Chinese Art (London), Gioia (New York), Siegelson (New York), F2 Gallery (Beijing), Waterhouse and Dodd (London), Berwald Oriental Art (London), Da Peng Ge (Beijing) and Wui Po Kok (Hong Kong) are among the 80 exhibitors. Contemporary art dealer Sundaram Tagore, who has supported Fine Art Asia since its inception in 2006 said, I have participated in this fair for many years. I believe this is the most important and beautifully presented fair in Asia and that is why it is billed as the Maastricht of Asia. Fine Art Asia, held annually during the peak art season in October, takes place concurrently with Sothebys auctions, both at the Hong Kong Convention and Exhibition Centre. In 2011, the fair dates are from 3-7 October.
43
PORTFOLIO: Market Voices
Where the classical world meets the modern age

By Remo Notarianni
ndy Hei is the founder and the Fair Director of Hong Kongs Fine Art Asia (formerly HK International Art and Antiques Fair). In recent years the event has included modern as well as classical works of art, making it one of the most comprehensive art fairs in the region. Hei talked to TPAG about the inspiration behind the art fair and why it is important that it reflects a range of collectors in a changing market. TPAG: How did the HK International Art and Antiques Fair start? I took over my fathers classical
Chinese furniture dealing business more than 20 years ago. I initiated and organised the first annual Hong Kong International Asian Antiques and Arts Fair in 2006. Before that, such arts fairs were only small scale, one off events. Many of them happened in Hong Kong during the early 1980s and 1990s. TPAG: What is the attraction of the antiques business in the 21st century? Antiques are known for retaining value, and maintaining a consistently stable rise in value. I noticed a rise from 10 percent to 20 percent
during the end of 1990s, and began to see a massive upsurge after the year 2000. The antiques world was engulfed by a frantic new wave of buying of goods such as Chinese calligraphy, Chinese ceramics, Jade. This has never happened before and modern and contemporary art is a part of it. TPAG: What are the factors driving the market at the moment? The trading of arts (especially in antiques and old masters art) is in huge demand, and this is due to a bunch of new collectors buying for investment purposes. An art fair is a perfect event to attract collectors, connoisseurs, dealers and art lovers from around the world. Fine Art Asia takes place during the autumn art auction season. The timing is advantageous for attracting people. Besides, Hong Kong is an ideal place because of its location and there are tax benefits. TPAG: Why was the fair renamed Fine Art Asia in 2010? The HK International Art and Antiques Fair was renamed Fine Art Asia because this name reflects the diversity at our art fair. This year, 50 percent of the exhibitors showcased antiques and ancient arts, and 20 percent showcased fine art jewellery and priceless antique watches, 15 percent showcased
Impressionist and Modern Art, and another 15 percent exhibited Contemporary Art. Our exhibitors are worldwide and an immense variety is guaranteed. TPAG: In your experience, where is the new buying power in the art market? Exhibitors and gallery owners are coming to the East in droves, they looking to expand new markets. Actually, there is a great new buying power from mainland china that gradually engulfs the art market within ten years in Hong Kong. In our field, the suppliers are come from mainland during the 70s to the end of 90s. The majority buyers come from Europe and America. After the year 2000, the mainland consumers increasingly spend their money in the art market. TPAG: How is Fine Art Asia helping to nurture young talent in Hong Kong? Yes, we work closely with the Fine Arts Department of the Chinese University of Hong Kong, helping to nurture young local talents. Every year we offer a free booth to the upcoming fine art graduates of the Chinese University of Hong Kong. We want to encourage them to sell their art, and develop their careers as artists. There will be prospects for them in the future.
45
PORTFOLIO: Business Model
Unpacking the White Cube

Text: Remo Notarianni
Inside The White Cube: The Ideology of the Gallery Space, published in 1976, was written by Brian O Doherty
hen Irish artist Brian O Doherty wrote his seminal 1976 book Inside the White Cube, he described the gallery as a sanctimonious, self-contained universe that moulds surroundings into a frame for the art on display making the space an integral part of the creation. The process of buying art rests more on the seductive lure of the object than the persuasion of its salespeople. Art sellers are knowledgeable communicators of aesthetics and messages but with recent changes in the business, the space that has traditionally sur-
rounded an art piece has taken on bold transformations; and these could either enhance or diminish the concept of the White Cube. Especially with regard London and New York, two cities that are close to each other, I feel that the conventional form of bricks and mortar galleries is fading out, said Sundaram Tagore, of Sundaram Tagore Gallery, which has branches in Hong Kong, New York and Beverly Hills. Technology has changed the process of art trading, and the Internet and art fairs have become important pillars of business. Whatever the implications might
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PORTFOLIO Unpacking the White Cube
I hope that as technology improves and virtual tours increase, it is not at the expense of bricks and mortars galleries. - Giorgio Pilla
be for space, in recent years, galleries are evidently looking beyond bricks and mortar. Unlike those that went online in the dotcom bubble and that may have met the same fate as other doomed URLS, this trend is being leveraged by new art buying opportunities. Eyestorm is a UK-based gallery that collapsed soon after it opened in 2000 and returned as a clicks and mortar gallery for a period, but its ill-fated story made it a guinea pig for more successful ventures. The obvious lure of any webbased business is the reduction of overheads and the establishment of print-on-demand technologies has brought products closer to consumers. In the case of Eyestorm, and the galleries that followed suit like the German Lumas, the selling point was making art affordable and within range of a new demographic. Eyestorm, which began in 1999, sells lambda prints of artists such as Damien Hirst and Rob Ryan for affordable prices. Online galleries are able to find, expose, represent and co-ordinate sales for artists all over the world, said Laura Thomas of the Hong Kong-based company Future Industries. Because of this, they enable buyers to access a much greater range of affordable art - which is currently the most lucrative sector in the marketplace. Although this may change as confidence in the online marketplace grows, and it might not be long before the presence of a gallery is as important as its physical presence, the current success of the online gallery lies more with the fact that it is able to make affordable art more available than the ability to make art in general more affordable. Some well-established galleries, such as Americas Galleries Maurice Sternberg, have moved completely online, and this may be because of prevailing economic uncertainty. But the question remains whether the online world can facilitate the gallerys vision of an environment that is conducive to art appreciation and help the audiences to engage the art itself- which ultimately sells itself. I am not averse to the concept and indeed we sell a significant proportion of our works by internet, said Giorgio Pilla of Singapores Red Dots Gallery. However, I hope that as technology improves and virtual tours increase, it is not at the expense of bricks and mortars galleries. People have less and less time and collectors love and need an easy, quick place to peruse and find the best of the best replacement for art fairs but for new art buyers the ability to see, feel and immerse should not disappear it is a fun-
49
PORTFOLIO Unpacking the White Cube
damental part of the process of understanding art which online galleries cannot and will not be able to replace. It is this absorption, and the call for artwork-enhancing technology, that throws down the biggest gauntlet to the online world. Tearing down the walls may have advantages and it clears up arguments about the snobby exclusivity of certain art pieces to collectors, but keeping the relevance of the White Cube as it goes online will turn out to be a challenge, and it could continue to serve as an interesting barometer.
Unshadowed, white, clean, artificial, the space is devoted to the technology of aesthetics, wrote ODoherty. Works of art are mounted, hung, scattered for study. Their ungrubby surfaces are untouched by time and its vicissitudes. Art exists in a kind of eternity of display, and though there is lots of period (late modern), there is no time. This eternity gives the gallery a limbolike status; one has to have died already to be there. Indeed the presence of that odd piece of furniture, your own body, seems superfluous, an intrusion.
SPACE
Art Jog 1 1
By Bharti Lalwani
Taking charge at
Luz by Eddie Prabandono
magine an art fair without branded galleries or ambitious dealers jostling for booth space. Sounds like an installation in its own right, doesnt it? Its a simple concept, executed in a way which clearly distinguishes it from other art fairs or exhibitions, but Art Jog began as an annex of the Yogyakarta Arts Festival in 2008 which then splintered into a separate event called Jogja Art Fair in 2009. It soon realised its potential in becoming an international art festival and changed its name to Art Jog. This year it ran from 16-29 July. Now in its fourth edition, the only artists art fair, albeit low key, in the region brought its audience a variety of works by artists, both well-known and new, from Jogja, Bandung, Jakarta, Bali, and a number of other small towns. They experiment in mediums such as video, sculpture, installation, mixed media and painting especially painting which is alive, well and thriving. Under the artistic direction of Bambang Toko Witjaksono (also an artist and lecturer), the Taman Budaya Yogyakarta or TBY building became a centre for uninhibited experimentation. Quite unbelievably, a large chunk of the concrete courtyard in front of the building was dug by at least six feet in order to accommodate a 700-tonne clay site specific sculpture. The sculpture in question was executed by artist Eddie Prabandono. At four metres high, the clay was shaped, scraped and smoothed to the likeness of his five-year-old daughter Luz as part of
Jogja is full of artists, so why not have an artists fair! - Bambang Toko Witjaksono, Curator ArtJog11
the Luz Series. Eddie whose diverse background includes garden design, has been using clay and paddy as a medium for his large-scale creations. The use of clay moulded to the likeness of a child signifies the Earth as a living, breathing being which, when left to the natural elements dries, cracks and dissolves into oblivion living on as a lingering memory in the minds of those who have seen it. With such a poetic start, Art Jog continued to surprise with an array of works so varied in theme and approach that they took on a life of their own. Balinese artist Krisna Murti, very much considered the pioneer of video art in Indonesia, conceptualised an ambiguous scenario in which Muslim women, projected side by side, dressed in different hijabs, responded differently to the same commands signalling how pluralism is under threat in todays climate. The row of women in the video is also reflected in a shallow pool of water, and this adds to the installation aesthetically and conceptually. A Special Presentation featured an interactive piece by artist Ay Tjoe Christine who put forth a couple of self-assembled typewriters, meaning the body of the typewriters was tweaked by add-
53
SPACE
With the pretence of a curated for gallery-typeshow out of the way, artists put up work which was far more uninhibited, experimental and even fun!
ing other unknown wires and machinery, with aluminium foil affixed to the paper table instead of paper. Audiences were encouraged to participate in the installation by typing onto the foil and adding their own imprint onto the artwork. Works by the better-known Indonesian artists such as Handiwirman Saputra, I Nyoman Masriadi, Jumaldi Alfi, Heri Dono and Rudi Mantofani were also on display alongside newer, and lesser-known artists. Art Jog, at first glance, may have looked like any other artists exhibition but on closer examination the fair does stand out with afew differences such as the fact that most works were for sale unabashedly and directly to a new hub of collectors who have been recently cultivating their tastes. With the pretence of a curated for gallery-typeshow out of the way, artists put up work which was far more uninhibited, experimental and even fun! This also puts the artists in charge as opposed to depending on galleries;various new artists who have never been shown elsewhere before, let alone have a gallery represent them, can benefit from such a platform to showcase their art. However, due to certain constraints, not all the works could be shown. Out of 3,500 submissions from 1,770 hopefuls, only 251 paintings, sculptures, installations and videos from 165 artists were chosen. The catalogue, though, provides a complete overview of every project, sketch and rendition submitted for Art Jog. Art Jog curator, Bambang Toko, emphasised that the fair is very much in its infancy and that there are several challenges to tackle the first and foremost being the lack of government support and funding. But Indonesian artists are no strangers to this a fact that has always led them to depend on private collectors. Dr. Oei Hong Djien, who has been a long time collector and patron of the arts is supporting Art Jog along with other collectors such as Deddy Kusuma and Sunarjo Sampoerna and senior artists at the helm. In fact some of the art on display was lent to the exhibition by these senior artists and collectors. Toko also organised a forum of curators and artists, with former Art Basel Director Lorenzo Rudolph who shared his experiences with art fairs such as Basel, Shanghai and Art Stage Singapore and how Art Jog could possibly position itself in relation to the international art market. Although this was a closed forum, next year, he said, we will be better organized and such forums will be open to the public. It was a relatively low key event this year, but its ambition is to insert itself into the calendar of wellattended international art fairs in the near future, so it will be extremely interesting to see how Art Jog matures and maps itself over the next few years.
Transform in Secret Factory by Recycle Experience
Gold Scooter by Ashley Bickerton
Weight Scaler by Budi Kustarto
55
Photos Bharti Lalwani
Montage III - Zu Garbriele Mistral, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s
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GALLERY SPOTTED
Art Trove Gallery 51 Waterloo Street #02-01/2/3 Singapore 187969 T: +65 6336 0915 F: +65 6336 9975 E: enquiry@art-trove.com W: www.art-trove.com Opening Hours Wed- Sun: 11am to 6.30pm Call for private viewing
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1 2 Sunjin Galleries Taksu 1 2 Linda Gallery Red Sea Gallery
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1 2 3 4 5 6 7 8
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Art Trove
51, Waterloo Street, #02-01/02/03, Singapore 187969

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, enquiry@art-trove.com ww.art-trove.com
art directories
62 Singapore Galleries 64 Art Auctioneers 64 Museums / Art Services 65 Conservation/ Restoration 65 Art Schools / Artist Studios 66 Hong Kong Galleries 66 Other International Galleries 66 Art Fairs 67 TPAG Art Tours HK 68 TPAG Classifieds
Singapore Galleries
in alphabetical order
Art Trove 51 Waterloo Street, #02-01, Singapore 187969 v +65 6336 0915 Y enquiry@art-trove.com www.art-trove.com
Wed - Sun: 11am-6.30pm
Bruno Gallery 91 Tanglin Road, #01-03 Tanglin Place, Singapore 247918 v +65 6733 0283 Y singapore@ brunoartgroup. com www.brunoartgroup.com
Chan Hampe Galleries @ Tanjong Pagar 21 Tanjong Pagar Road, #04-02, Singapore 088444 v +65 6222 1667 www.chanhampegalleries.com
Weekdays: 10am-6pm Weekends: 11am-4pm Closed Wednesday and Public Holidays
Weekdays: Tue - Fri: 10am-7pm Weekend: Sat & Sun 11am-8pm Closed on Monday
ARTXCHANGE Gallery 6 Eu Tong Sen Street, #02-65, The Central, Singapore 059817 v +65 9027 3997 Y benny. oentoro@live. com www.artxchangegallery.com
Mon - Sat: 11am-9pm
Cape of Good Hope Art Gallery 140 Hill Street, #01-06, MICA Building, Singapore 179369 v +65 6733 3822 Y capeofgoodhope@pacific. net.sg www.capeofgoodhope.com.sg
Daily: 11am-7pm
Forest Rain Gallery 261 Waterloo Street, #02-43/44, Singapore 180261 v +65 6336 0926 Y info@forestraingallery.com www.forestraingallery.com
Tue - Fri: 11am-7pm; Sat - Sun: 11am-5pm.
Boons Pottery 91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918 v +65 6836 3978 www. boonspottery. com
Daily: 11am-6pm. Closed on Public Holidays
Chan Hampe Galleries @ Raffles Hotel 328 North Bridge Road, #01-04, Raffles Hotel Arcade, Singapore 188719 v +65 6338 1962 www.chanhampegalleries.com
Daily: 11am-7pm. Closed on Public Holidays
The Gallery of Gnani Arts 1 Cuscaden Road, #01-05, The Regent, Singapore 249715 v +65 6725 3112 Y arts@gnaniarts.com www.gnaniarts.com
Tue - Sun: 11am-7pm
Indigo Blue Art 33 Neil Road, Singapore 088820 v +65 6372 1719/38 Y info@indigoblueart.com www.indigoblueart.com
Mon - Sat: 11am-6pm
Ken Crystals 6 Eu Tong Sen Street, #03-72, The Central, Singapore 059817 v +65 6339 0008 Y kencrystals@ yahoo.com.sg
Mon - Sat: 11am-7pm; Sun: 1pm-5pm.
Pop and Contemporary Fine Art 390 Orchard Road, #0312 Palais Renaissance, Singapore 238871 v +65 6735 0959 Y enquiry@popandcontemporaryart.com www.popandcontemporaryart.com
Tue - Sat: 11.30am-6.30pm; Sun: 12noon-5pm
Utterly Art 229A South Bridge Road, Singapore 058778 v +65 6226 2605 Y utterlyart@ pacific.net.sg
Mon - Sat: 11.30am-8pm; Sun: 12noon-5.30pm
musetheartgallery. com Mon - Fri: 8.30am-5.30pm
Muse The Art Gallery 4 Toh Tuck Links, Unit 01 01 Singapore 596226 v +65 6762 6617 Y enquiries@
Galerie Sogan & Art 33B Mosque Street, Singapore 059511 v +65 6225 7686 Y vera@ soganart.com www.soganart. com
Yisulang Art Gallery 6 Handy Road, #01-01, The Luxe, Singapore 229234 v +65 6337 6810 Y mktg@ yisulang.com http://yisulang. com
Tue - Sun: 11am7pm
Mon - Sat: 12noon-7.30pm; Sun: 2pm-5pm
OVAS Art Gallery 9 Penang Road, #02-21 Park Mall, Singapore 238459 v +65 6337 3932 www.ovashome.com
Sunjin Galleries 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 v +65 6738 2317 Y info@ sunjingalleries. com.sg www. sunjingalleries. com.sg
Tue - Fri: 11am7pm; Sat: 11am-6pm
Daily: 11.30am-8.30pm
Established in 2000, Sunjin has built a strong reputation representing some of the leading and most sought after artist in the region. The Gallery has also actively identified and promoted new talents, introducing new and exciting names for the art buying public to invest in. Recently, at the 11th Beijing International Art Exhibition in 2008, the gallery was awarded by the Ministry of Culture PRC a certificate recognising the gallery as one of the Top 10th most influential galleries of 2008.
63
art directories Art Auctioneers

Christies Hong Kong Limited 22/F, Alexandra House, 18 Chater Road, Central, Hong Kong Black Earth Auction 367 Joo Chiat Road, Singapore Borobudur www.borobudurauction.com Larasati 30 Bideford Road #03-02, Thong Sia Building, Singapore 229922
Art Services
ma ARTS v +65 8611 5280 Y alfred@ maarts.com.sg
Conservation / Restoration
PIA Preserve in Aesthetics 63 HillView Avenue, #02-06B, Lam Soon Industrial Building, Singapore 669569 v +65 6760 2602 / +65 9118 7478 Y josephine@ thepiastudio.com www.thepiastudio.com
Specialised in Paper & Book Conservation. Art Preservation, Conservation and Restoration.
Transportation & Installation of Art Works and other Art related services.
Rays Transport & Services v +65 9152 2511 Y artswithray@ gmail.com

Artwork Installation & Delivery Services.
Museums
The Luxe Art Museum 6 Handy Road, #02-01, The Luxe, Singapore 229234 v +65 6338 2234 Y enquiry@ thelam.sg www.thelam.sg
Tues - Sun: 11am-7pm
Art Schools
LASALLE 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St The Singapore Tyler Print Institute 41 Robertson Quay
Santa Fe Art Solutions v +65 6398 8518 M: 9758 8294 Y artsolutions@ santafe.com.sg
Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street National Museum of Singapore 93 Stamford Road, Singapore 178897 National University of Singapore Museum (NUS) University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279
Specialized services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.
Artist Studios
Chieu Sheuy Fook Studio Studio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985 v +65 9669 0589 Y chieusf@ gmail.com DreamSpace Art Studio 19 China Street, #03-04/05 Far East Square, Singapore 049561 v +65 9168 7785 Y enquiry@hillad.com.sg www.hill-ad.com.sg Foundation Oil Painting (Conducted by Mr Wee Shoo Leong) 155 Waterloo Street, #01-04, Stamford Arts Centre, Singapore 187962 v +65 9726 2028 www.foundationoilpaintingclass. com
Koeh Sia Yong 10 Kampong Eunos, Singapore 417774 v +65 9671 2940 Y koehsy@ singnet.com.sg www.yessy.com/koehsiayong www.koehsiayong. artfederations.com
65
art directories Hong Kong Galleries

Blue Lotus Gallery Wah Luen Industrial Building, 15-21 Wong Chuk Yeung Street, Fotan (N.T., close to Shatin) Belgravia Gallery 12/F Silver Fortune Plaza, 1 Wellington Street, Central, Hong Kong Karin Weber Gallery G/F, 20 Aberdeen Street Central, Hong Kong (Close to Hollywood Road) Koru Contemporary Art Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong
International
Flo Peters Gallery Chilehaus C, Pumpen 8, 20095 Hamburg, Germany v +49 40 3037 4686 Y info@ flopetersgallery. com www. flopetersgallery.com GALERIE CHRISTIAN LETHERT Antwerpener Strasse 4 D - 50672 Kln (Cologne) Germany Alan Cristea Gallery 31 & 34 Cork Street, London W1S 3NU White Cube 48 Hoxton Square, London N1 6PB L & M Arts 45 East 78 Street New York 10075
Art Fairs
Affordable Art Fair Singapore 18 20 November 2011 www.affordableartfair.sg Art Stage Singapore 12 15 January 2012 www.artstagesingapore.com Hong Kong International Art Fair (ART HK) 17 20 May 2012 www.hongkongartfair.com Fine Art Asia 3 7 October 2011 www.fineartasia.com China International Gallery Exposition (CIGE) April 2012 www.cige-bj.com Shanghai Art Fair 14 18 September 2011 www.sartfair.com Art Revolution Taipei 22 25 March 2012 www.arts.org.tw Art Expo Malaysia 28 Oct 1 Nov 2011 www.artexpomalaysia.com Art Fair Tokyo 29 31 July 2011 www.artfairtokyo.com Contemporary Istanbul Art Fair 24 27 November 2011 www.contemporaryistanbul.com Art Dubai 21 24 March 2012 www.artdubai.ae
Get listed with TPAG. Gallery listing Package: SGD700 (per annum) inclusions of one image, address, contact details & operating hours and gallery description. Standard listing: SGD500 (per annum) inclusions of address, contact details and operating hours. Email us for sales form at sales@thepocketartsguide.com
10
TPAG Art Tours: HK

Hong Kong Museum of Art 10 Salisbury Road, Tsim Sha Tsui, KLN 1 0 www.hk.art.museum v 852-27210116
4 5 6 7 8 9
4 5 2 78
Simone Boons Studio Unit17, 9/F, block B, Wah Luen Industrial Centre, 15-21 Wong Chuk Yeung Street, Fotan, NT. 15-21 B917 www.simoneboon.com Y info@simoneboon.com v 852-60120363
Hong Kong Cultural Centre 10 Salisbury Road, Tsim Sha Tsui, KLN 10 www.icsd.gov.hk/CE/ CulturalService/HKCC v 852-27342009 Hong Kong Arts Centre 2 Harbour Road, Wan Chai, HK 2 www.hkac.org.hk v 852-25820200 Fringe Club 2 Lower Albert Road, central, HK 2 www.hkfringeclub.com v 852-25217251 Flagstaff House Museum of Tea Ware 10 Cotton Tree Drive, Central, HK 10 www.lcsd.gov.hk/CE/Museum/ v 852-28690690 Swire Island East 18 Westlands Road, Island East, Hong Kong 18 www.swireproperties.com v 852- 28445095
will launch TPAG Art Tours. This brings art lovers from around the world toHong Kongs art scenes, art exhibitions, events and activities. Participating galleries, artists, companies and organisations have a chance to showcase their venue and artists. Please join us and email to remo@thepocketartsguide. com to sign up the Hong Kong Art Tours.
Belgravia Gallery, Hong Kong 19th Floor, Silver Fortune Plaza 1 Wellington Street, Central 1 19 www.belgraviagallery.com Y cailin@belgraviagallery.com v 852 -9222 7315 Viewings by appointment only. Hong Kong Heritage Museum 1 Man Lam Road, Shatin, NT 1 www.heritagemuseum.gov.hk v 852-21808188
Blue City by A. Eugene Kohn, 30.5 x 23 cm
10
Jockey Club Creative Arts Centre 30 Pak Tin Street, Shek Kip Mei, KLN, HK 30 www.hku.edu.hk/jccac v 852-23531311
67
TPAG classifieds
Artwork Exhibition space Art lessons Art materials
Title: Angelic Dissolve Medium: Oil on Canvas Size: 54 X 50 cm Asking price: EUROs 270 Artist: Dave Askew is a British abstract artist Contact: d.askew68@yahoo.com
Title: Bar Girls Medium: Giclee print on canvas limted edition of 25. Size: 76 X 71 cm Asking price: price (prior to commission) US$550 on unstretched canvas or US$625 stretched on 1 1/2 thick stretcher bars, gallery wrapped or Stretched & Framed US$800 (shadow box floater frame). Artist: American artist Jack Massey captures the power of the ordinary in his artwork. Contact: jwyattm@sbcglobal.net
Space for hire

Title: Bergen Rain Medium: colour pencils Size: 60 x 30 cm Asking price: EUR 250 Artist: Yuka Matsuhashi is a Japanese illustrator and artist. Contact: musako@gmail.com
Oil on Canvas Size: 130 x 97 cm Asking price: EUR2,000 Artist : Moroccan artist Mohamed Tahdainis abstract artwork has been exhibited globally. Contact: tahdaini@hotmail.fr
Space for hire
Our ad space offers an affordable way for artists to showcase their work. It is also a marketplace for anything that can facilitate the art world. For more information, email: sales@thepocketartsguide.com.

The Pocket Arts Guide (Sept Issue)

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The Pocket Arts Guide (Sept Issue)

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POP AND CONTEMPORARY FINE ART

Yayoi Kusama - Pumpkin YT - Screenprint

EDITORS LETTER ART WIRE

Galleries updates and events

Angels in the Details: Raphael Abecassis

PORTFOLIO: FINE ART FAIR

Connecting the dots

PORTFOLIO: MARKET VOICES

Where the classical world meets the modern age

CHINA: Blurring the lines

Kaboom and bust!

Taking charge at Art Jog 11

Art Galleries in Singapore

Just Around The Corner

DIRECTORY LISTING 68 CLASSIFIED

ISSN 2010-4375 / MICA (P) 130/03/2011

Gladys Teo, Bonnie E. Engel, Bharti Lalwani

General enquiries and feedback

Submission of press releases

04 TPAG | Sept 201 1

Recycle. Pass THE POCKET ARTS GUIDE forward.

06 TPAG | Sept 201 1

Framing the framed 01.09.11 30.09.11

Indigo Blue Art www.indigoblueart.com

Liu Kang A Centennial Celebration 29.07.11 16.10.11

Nobuyoshii Araki: All Women are Beautiful 07.09.11 23.10.11

Galerie Steph and Ooi Botos www.galeriesteph.com

08 TPAG | Sept 201 1

Deadlocked 25.08.11 01.09.11

Intimacy 02.09.11 25.09.11

LHomme qui Plantait des Arbres 07.02.11 0

Yavuz Fine Art www.yavuzfineart.com

Beyond Walls 04.0911 01.10.11

Asia Fine Art Fair www.belgraviagallery.com

Blue Lotus Gallery www.bluelotus-gallery.com

10 TPAG | Sept 201 1

Jacob Kassay 02.07.11 02.09.11

L&M Arts, Los Angeles www.lmgallery.com

Mabini Art Project 19.03.11 19.03.12

Angels in the Details

Jerusalem Harp 26 x 18.75in

Jerusalem 25.5 x 19.75in, Watercolor and Gouache.

IN THE FRAME Raphael Abecassis

King David 19.5 x 13.75in

14 TPAG | Sept 201 1

Jonah the Prophet 19.5 x 25.5in

Genesis 27.5 x 19.5in

16 TPAG | Sept 201 1

IN THE FRAME Raphael Abecassis

IN THE FRAME Raphael Abecassis

18 TPAG | Sept 201 1

Dawn, Screenprint 52.8 x 45.4 cm Edition size 100, 1989

Connecting the dots

Dots (xyztt), 145.5 x 115 cm, Acrylic on canvas. 2008

FEATURE Connecting the Dots

Pumpkin, Screenprint 62.8 x 54 cm. Edition Size: 100, 1990

FEATURE Connecting the Dots

24 TPAG | Sept 201 1

Blurring the lines

Wucious Wong, Great River 4 (2004), 83 x 83cm

26 TPAG | Sept 201 1

Li Jin, Satiated 1 (2004),136x68cm

ART LANDS China

Cai Guangbin, Window . Strangers (2002), 210x175cm