TPAG OCT 2 01 1 / ISSUE 2 4

Roberto Cortzar

T PAG O c to b e r 20 1 1 / I s s u e 2 4

Conte nts
EDITORS LETTER 8 ART WIRE
4 42

Galleries updates and events

PORTFOLIO: MARKET VOICES

Sundaram Tagore: Tradition and Transcendence

14

Roberto Cortzar: Contemporary Humanist

IN THE FRAME

PORTFOLIO: COLLECTORS
New China Hands: Art market boosted by mainland Chinese buyers

48

22

Indonesian Eye: New Perspectives

FEATURE
50 PORTFOLIO: BUSINESS MODEL

28

INDIA: Changing Faces

ART LANDS

Belgravia Gallery: Etching out a niche

53

Simone Boon: Shaping the Flow

SPACE MAP

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38

Deadlocked

GLIMPSE

Painting on Shadows

STORIES IN LIGHT

Art Galleries in Singapore

DIRECTORY LISTING 68 CLASSIFIED

63
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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 October 2011 issue of The Pocket Arts Guide (TPAG) coincides with Fine Art Asia, one of Asias premier art fairs. TPAGs presence at the fair puts it in the midst of immense change in which the world of antiques and jewellery meets that of contemporary and modern art. Contemporary art is a relatively new addition to the fair and conceptually that makes it an interesting showcase of ancient and modern. Of course, a market value that is surpassing that of antiques is driving this but for TPAG that starts a discussion on a number of levels. Beyond this, the convergence of the two worlds makes an interesting comparison. Overall, it shows how limiting categories can be and it also reveals that art in different categories can be more similar than we realise. Somewhere in the colours, brush strokes and the creative imprints, there is a similarity that connects aeons of creative people. For that reason, it is fitting that this issue includes esteemed Mexican artist Roberto Cortzar for In the Frame. Cortzars devotion to classical techniques in art has made him a Renaissance artist in a contemporary world. In this issue, theres more writing with light in our Story section with an innovative light painting artist from Singapore and Portfolio, the business section, looks at the growing importance of the mainland Chinese collector. Every month, TPAG keeps up with an art world that is changing by the day. This issue offers another snapshot of talent in transition.

Remo Notarianni

remo@thepocketartsguide.com

Art Director

Melvin Ho

melvinho@thepocketartsguide.com

Contributors

Gladys Teo, Bharti Lalwani, Roy Voragen

Advertising Sales

sales@thepocketartsguide.com

General enquiries and feedback

mktg@thepocketartsguide.com

Submission of press releases

pr@thepocketartsguide.com

On the Cover

Remo Notarianni
Editor-in-Chief

Roberto Cortzar, Retrospective Image: The Tyrannicides. 235 x 160 cm. Silver-point, lead-point, oil, charcoal and flatting varnish on wooden board. 2004. Represented by Puerta Roja at The Space, Hong Kong.

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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.

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Living in Ceramics Solo exhibition by Lee Se Yong 20.10.1110.11.11

Sunjin Galleries www.sunjingalleries.com.sg
Singapore

WANTED: possession and rejection New works by Eric Chan 05.10.11 05.11.11

Chan Hampe Galleries www.chanhampegalleries.com

Singapore

Preceding Eric Chans highly anticipated solo exhibition of new works, Chan Hampe Galleries will present a snapshot retrospective of his paintings from 20052010 during the month of October. Amongst the works featured will be the artists signature floral paintings. Then, in November of this year, Chan Hampe Galleries@ Raffles Hotel will exhibit an entirely new series in a bold new direction never before taken by the artist. A watershed exhibition in which Chan takes personal risks in the artwork. The work is reflective of his deep personal struggle to accept the past and embrace the future. This exhibition offers viewers the chance to revisit the foundation of Eric Chans artistic practice, before his latest series of works is unveiled in his exhibition in November.
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Korean ceramic artist, Lee Se Yong, creates opposites. Embracing tradition, he refines and redefines basics with modern forms of clay-sculpturing, at the same time working freely with both traditional and modern images. The ancient craft of inlay, spinning and firing is his favoured mode of artistic delivery. Seeking inspiration from nature, Lee emphasizes imperfection and perfection at the same time. His style is purposely minimalist and at times asymmetrical and roughly textured, seemingly unfinished and flawed. Yet he attains perfection through the intricate artistry of the work. Using blue paint on white porcelain, Lee is concerned with depicting light and shade, delicate lines and bold spaces. Lee also blends the gap between utility and aestheticism seamlessly. While the idea of the everyday object is not new, Lees unique contribution lies in the creation rather than the product and creates ceramic works that are conceptual in ideas and form. Living in Ceramics runs from 20 - 30 October at Social Creatives Museum @ Millenia Walk, 9 Raffles Boulevard #02-54; thereafter from 1 - 10 November at 2 Mistri Road #01-02.

Exhibition Terracotta Warriors: The First Emperor and His Legacy 24 .06.11 16.10.11
Special Exhibitions Gallery, Asian Civilisations Museum www.acm.org.sg
Singapore

An exhibition organised by the Asian Civilisations Museum, Singapore, in partnership with the Shaanxi Provincial Cultural Relics Bureau and the Shaanxi Cultural Heritage Promotion Centre, China showcases thousands of terracotta warriors, buried for over 2,000 years and the Emperor Qin Shihuangs imperial legacy. It shows the fundamental influence of the First Emperor and his dynasty. It offers the chance to marvel at the First Emperors impressive burial complex and his mighty terracotta army. The terracotta army discovery is considered one of the biggest archaeological events of the twentieth century. Recapture the mystery of the warriors how they were discovered, why they were created and what they represented.

ETHOS VI 12.10.11 30.11.11 Croiss: a selection of Asian Contemporary Art 07.10.11 10.12.11
Art Plural Gallery www.artpluralgallery.com
Singapore

Indigo Blue Art www.indigoblueart.com

Singapore

Regards Croiss pays homage to contemporary artists whose works confront one another to create a narrative through issues of globalisation, industrialization, consumerism, the environment, identity and individuality. The works are unparalleled embodiments of the cultural diversity in Asia, mediating the tale of Asia today, comments Frdric de Senarclens, CEO of Art Plural Gallery. The exhibition includes Korean sculptor, Choi Xoo Ang who has created The Dreamer Red, 2007. Chinese artist, Shi Jinsong reinvents baby products that are unexpectedly hostile. Shis Baby Carriage, 2007, from the Na Zha series is a metaphor on which a baby should be like Na Zha, the legend from Chinese mythology, known to be an aggressive warrior armed with the armillary sphere and sash; transported by wheels on fire beneath his feet even though he is just a child. With LUn, French artist, Fabienne Verdier, presents an interesting element to the exhibition. The only Western artist to have had been trained by the most outstanding masters in China for almost ten years, she has realised a synthesis between East and West; between ancient calligraphy art and minimal abstraction.

A Four-Day Antique Asian Maps and Prints Special: Exploring History through Maps and Prints 01.10.11 04.10.11
Indigo Blue Art www.indigoblueart.com
Singapore

Indigo Blue Art is hosting a fourday special of prints and maps of Japanese Ukiyo-e woodblocks and hand coloured botanical prints of Asian flora. It will include hundreds of rare and beautiful antique maps, hand-coloured prints of Asian flora and fauna, Japanese woodblock prints, architectural engravings and early etchings and postcards of Singapore. In this fine collection of works are genuine original prints, and many go back to the early 1800s and several as early as 1630. The purpose of this exhibition is to invite the viewer to look deeply into the subtle messages delivered by artisans who created the prints and maps. Subjective in nature, these antique maps provide an important social, political and religious context. The factors that motivated the production of individual maps often become apparent through close scrutiny of their decorative features and the information their creators chose to include or omit. For more information, email Jill or Harry Pickering at indigomaps@gmail.com

Ethos is an annual exhibition conceived by Indigo Blue Art, as a series of aesthetic journeys through the Contemporary World of Indian Art. This years Ethos VI features 15 high-calibre, significant paintings by leading artists of Contemporary Indian Art. The exhibition provides a unique opportunity to view and procure works from a rare collection never showcased in Singapore before. Artists include Arpana Caur, M.F Husain, Ram Kumar, SH Raza, Paramjit Singh, Jayashree Chakravarty, Akkitham Narayanan and Paresh Maity. These renowned artists, with their individual language and distinctive personal styles, have successfully negotiated the formative years of modern Indian art. Each artist was influenced heavily by the West, but eventually broke away from the moulds of existing art practices, leading them to develop an Indian sensibility and language which responded both to international trends and national expressions. These works selected for Ethos VI represent the uncompromising tenacity and experimentation embraced by these artists, following the uncertain yet liberating years of Indias independence. There will be an exhibition walk-through on Sat 10 November at 2pm and a talk on M.F. Husain on Sat 17 Nov 2pm. Please call 63721719 for more details.
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The Paintings of Pan Zheng Pei (1934 - 2004) 24.09.11 08.10.11

ZiJuan Art Gallery
Singapore

Cherry Poke: Reconstituted Philosophies 22.09.11 31.10.11

Museum of Art and Design www.madmad.com.sg
Singapore

IWAN EFFENDI, Eye of The Messenger 01.10.11 13.11.11

Yavuz Fine Art www.yavuzfineart.com Singapore

Art is the emotional vectors of painter. You will feel Pan Zheng Peis sincere feelings and emotions when you appreciating his paintings. This painting shows the customs of Southeast Asia, the life styles, art forms and his deep love of his native land. Especially the painting with street scenes and peoples daily life, many precious and records indicate the true art of life and charm of Southeast Asia. Pan Zheng Pei developed art creation of Southeast of Asia. He used visual art and style of western oil painting to paint local people and culture of Southeast Asia. People will feel deeply charming Southeast style when you appreciating Pan Zheng Peis artworks. Thus through this exhibition, people can get a better understanding of the spirit that Pan Zheng Pei pursuit. Meanwhile this exhibition can let more people to appreciate his artworks. For more information, please contact: (65) 6733 0289 / HP: (65) 8160 0058.
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Singaporean artist Jahan Lohs latest collection at M.A.D centres on reconstituted canned food, Titled Cherry Poke: Reconstituted Philosophies, Loh examines the MaLing brand of luncheon meat and lychees in syrup at the exhibition. The works construct a visual parable that dissects postcolonial Asian history and profound Western cultural influence. Loh refers to the modernisation of Asian culturewhere mass consumption of homogenised food have sociological implications resulting in shifting cultural paradigms. How does the underlying text translate to Asias disappearing values in light of Westernisation and globalisation? Offering some consolation to an inevitable phenomenon, each piece of art hanging on the gallery walls, while uniform in appearance, differs slightly to the next, suggesting individualism within collectivism. The perceptible deviations of his opus culminate in the romanticism of consumption culture and nostalgia.

Yavuz Fine Art is pleased to present a major exhibition by Iwan Effendi that goes back in time to depict real-life stories that happened during a coup in Indonesia 46 years ago. This is Effendis first solo exhibition in Singapore and will feature a series of new paintings and sculptures. The 1965 uprising led to a violent army-led anti-communist purge in which more than half a million people were killed. The purge was a pivotal event in the transition to the New Order; the Indonesian Communist Party was eliminated as a political force, and the upheavals led to the downfall of president Sukarno. Effendi captures this dark chapter in Indonesias history through surrealistic visual language. He weaves the stories that he wants to share into his complex, multi-layered compositions evoking a fantasy world. Effendi delicately addresses individual stories of loss and hope.

Energy in Colors 22.09.11 31.11.10

Going Dutch Furniture Group Ltd www.goingdutch-group.biz

Singapore

To Add a Meter to an Unknown Mountain: An Iconic Collection of Contemporary Chinese, Photography (Working Title) 23.09.11 30.10.11
The Private Museum Ltd www.theprivatemuseum.org
Singapore

Arrival of Lladr, Guardian Lions in Singapore Available from 21 September 2011

Lladr Paragon www.highporcelain.com

A wave of boldness has swept over Going Dutch. The designer furniture shop will showcase Energy in Colors, a dramatic art exhibition by 14-year-old Singapore child artist, Dawn Kwan who has completed over 300 paintings since aged five. The unique furniture shop on River Valley Road features some of the finest international designs from The Netherlands. Undeniably, Dutch designs have been celebrated the world over for their originality, personality and innovation. With renowned brands such as Leolux, Gelderland and Pastoe. While forward, organic shapes break out of conventional expectations, Going Dutch is blowing yet another whirlwind of surprise in colours. This being Kwans 6th solo art exhibition, pulse-quickening paintings like fiesta Masks, Seahorse, Reaching Out and story-themed dogs such as Pink Panther Dog and Big Bad Wolf Dog complement the organic furniture designs.

The exhibition To Add a Meter to an Unknown Mountain: An Iconic Collection of Contemporary Chinese Photography (working title) features the works of four Chinese artists Cang Xin, Ma Liuming, Liu Wei, and Zhan Wang, whose bold, conceptual art challenges the conservative society that they grew up in. In their respective styles, each of these contemporary Chinese artists expresses social critiques of the world, from the impermanent state of human actions to the harmony between nature and mankind, the photography in this exhibition highlights the relationships between man and nature, new and old, and modernity and tradition. Their work serves to capture significant moments of interaction between two starkly different worlds. The iconic photography featured in this exhibition captures individual performances and installations by these artists as they explore the dynamics that shape our surroundings.

Singapore

Lladr, the worlds foremost creator of handcrafted porcelain sculptures, is synonymous with exquisite works of art rendered in seamless porcelain and delicate colours. In September, Angeles Lladr, the daughter of Juan Lladr, came to Singapore. For Lladr collectors, a piece of art personalised with a Lladr signature becomes an even more treasured piece in the collection. In conjunction with her visit to Singapore, Angeles Lladr also unveiled the Guardian Lions, a highly anticipated High Porcelain collection by Lladr. In the Fall 2011 collection, Lladr presents some of its very best works. These include majestic and imposing guardian lions inspired by the traditional statues flanking the entrances to palaces, temples and noble homes in Asia. The artists from Lladrs High Porcelain workshop took on the challenge of recreating them in porcelain.
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Opera Gallery Singapore at ION Orchard presents Modern Masters 23.0911 23.10.11 Jumuwarnti and Goonboorooru - Waterholes and Caves
Opera Gallery www.operagallery.com
Singapore

CHU TEH-CHUN: Process & Transformation 19.10.11 19.11.11

Feast Project www.feastprojects.com
Hong Kong

An exhibition of new Kimberley ochres by Lloyd Kwilla and Claude Carter

19.10.11 09.11.11

Australasian Art Projects

Singapore

www.australasianartprojects.com

In October this year, exceptional young artists Lloyd Kwilla, and Claude Carter, will travel from their Kimberley homes near Fitzroy Crossing to attend the opening at Australasian Arts Projects, for their first exhibition in Singapore. For this their first Singapore exhibition, Kwilla and Carter have created a new body of work.. It showcases the artists own distinctive iconography and subtle crafting of natural pigments. Both artists demonstrate prodigious artistic talent as well as a serious commitment to maintaining the culture in which they were raised. Accompanying Lloyd Kwilla and Claude Carter on their long trip to Singapore, is respected agent Kevin Kelly, of Red Rock Art, Kununurra, Western Australia. Susan McCulloch OAM, is a well-known Australian art writer, publisher and curator and his work is published.
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Opera Gallery Singapore at ION Orchard is pleased to present Modern Masters, an exhibition held in September 2011 during Singapores 4th F1 night race. It will bring together an unparalleled selection of modern art in one of the most colossal exhibitions to be held in Southeast Asia. Along these great masters, Baltasar Lobo, a Spanish artist and sculptor will be showcased for the first time in Singapore. Famous for his unequivocal style combining roundness of volume with great perfection, Lobos exhibition will be staged outdoors along the promenade of the prestigious Orchard Road. Complementing Lobo would be a monumental bronze sculpture Horse by Colombian artist Fernando Botero. While the exhibited artists during the Modern Masters approach art from various vantage points in terms of intensity, sociopolitical engagements and painterly styles, the thread which unambiguously unites them is their persistent and unremitting Modernism. Opera Gallery is proud to offer collectors an unparalleled opportunity in Singapore to experience in a single exhibit - the creative brilliance of these magnificent painters.

Chu Teh-Chun, born in 1920, belongs to the second generation of Chinese painters who went to Paris, and he is recognized as one of the few modern Chinese Masters. Recently his paintings, calligraphies and ceramics have been exhibited at the Guimet Museum, Paris (Summer 2009), National Art Museum of China, NAMOC, Beijing (03/2010), Hong Kong University Art Gallery (04-06/2010) and Macau Museum of Art, MAM (07-08/2010). The paintings that follow oscillate between suggestions of reality in landscape and compositions paying homage to eastern and western masters. The French poet and art critic, Jean-Franois Chabrun defines him as a 2Oth Century Painter of the Song dynasty. He often retreats to his studio striving to perfect his vision. This process produces a series of oil paintings on paper. These works are truly exceptional because they announce the future developments in Chu Teh-Chuns oeuvre, as well as demonstrate Chus special place in the history of modern art. Though Chu leaves China for France, he never abandons his Chinese culture and roots: This is exemplified in his daily practice of calligraphy.

Embracing the Slow ANNIE HSIAO-WEN WANG 30.10.11 30.11.11

The Gaffer www.gaffer.com.hk
Hong Kong

Belgravia Gallery at Asia Fine Fair October 3 7 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

Taiwanese artist Annie HsiaoWen Wang uses paint to evoke states of mind. Unlike Rothko, however, Wang sets out to offer an opportunity for the viewer to stop and meditate upon the numinous and the emotional in the artwork. Prior to even starting, Wang prepares the canvas through applying numerous layers of gesso. Working slowly to build up the depth of Wangs surfaces through careful glazing, a technique employed by the Baroque masters, Wang reflects a glowing light & shade. Not uncommon for Wangs large- scale colourist abstractions which require enormous discipline as some are worked on for over one year and as Australian art Critic David Bromfield summarised perfectly If Rothko polished the world with icy emptiness, Annie Hsiao-Wen Wang tunes it to melodic perfection. The Gaffer will be showcasing Wangs work at Art Stage Singapore in 2012.

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 artist each has his or her own unique way of reshaping the world around them. 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 box-like architectural structures in Hong Kongs skyline. These artists, it is hoped, are part of a new era.

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.
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IN THE FRAME

Tyrannicides No.3, 2004. Oil, silver point, charcoal and flatting varnish on wooden panel. 200cm X 160cm

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Contemporary Humanist
Text by Remo Notarianni
Saturn #14, 2004. Oil, silver point, charcoal and flating varnish on wooden panel. 250cm X 175cm.

Roberto Cortzar:

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IN THE FRAME Roberto Cortzar

Figures in a room. Variations, 2000. Oil, charcoal, pigments, polymos and wax on wooden boards.

he figures of Mexican artist Roberto Cortzar are rendered with classical precision, as if the hands of Leonardo Da Vinci or Albrecht Durer have reached into the modern world. The celebrated Mexican artist, who has been described as a contemporary classicist revitalises tradition with his embrace of different art movements, through which he poses questions about humanity. Throughout Robertos work there is an ever-present representation of the human figure amidst evolving and changing spacial and emotional contexts, said Adriana Alvarez-Nichol, owner of Hong Kong-based Puerta Roja,
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the first art dealer in Hong Kong specialising in Latin American art. Through these representations, the artist forces upon us a sense of self awareness, and a moment of introspection into our own human nature. It is as if his works were portraits not of the body but of our soul. Cortzar graduated from the National School of the Arts in Mexico City in 1983. Since then, his strong academic rigour has been evident in his signature classical human forms, which fit into a long Mexican tradition of figurative painting. However, his incorporation of abstract techniques brings the humanist ideas

and questions of the Renaissance period into the present. The question of what humanity is, while rooted in academic classicism, has followed Cortzar in his exploration of different movements. Throughout, he has placed a quintessentially classical form into abstract, modern and post-modern settings, on an almost encyclopedic journey of Art history. The classical figures are a supporting structure but their juxtaposition gives the work an evolutionary dynamic. By placing the figures in a different context, Cortzar defamiliarises them and the fragmented images of the human body pose questions about the place of

humanity with its power struggles, tenuous relationships, and uncertainties. This classical solidity seems fragile in a modern setting, but Cortzars devotion to it makes him stand out in contemporary art. His statement is made not only in the content of the images but also in the techniques used. Roberto is an artist who still uses techniques such as silver point drawing and oil painting on wooden panels. These date back to the Renaissance and they require a high degree of draftsmanship from the artist and are rarely seen in contemporary art. said AlvarezNichol. Beyond the technical virtuosity and resulting compelling
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El Puente, 1988. Oil, cahrcoal, grafitti, wax and pigments on wooden panel. 198cm X 136cm.

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IN THE FRAME Roberto Cortzar

Orozco. 2009. Oil, silver point and flatting varnish on wooden panel. 305x220 cm.

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IN THE FRAME Roberto Cortzar

To go beyond, I believe art should pursue more complex ways to construct forms.

Acrobat, 2009. Oil on wood panel. 200cm X 140cm.

visuals, the method itself engages the artist at a different level throughout the process of creation. The resulting works are more balanced and powerful, inviting us to revisit them over and over again. With his marriage of tradition and cutting edge modernity, Cortzar has taken part in projects that offer new perspectives on art history. In 2006, Cortzar embarked on four years of work aimed at revisiting great masterpieces in collaboration with three of the major museums in Latin America. First, Saturn and the Parricides, presented by the Museo Amparo and the Museum of Contemporary Art, inspired by stories of Greek mythology and variations on the theme of Saturn Devouring his
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Son, by Spanish master Goya. In both, he kept true to his classical figures while adding emotional intensity through an expressionistic reinterpretation of the piece, achieved with modernist and postmodernist techniques. The combination of classical figurative imagery and expressionistic artwork epitomises his dynamic visual language. In 2009, Cortzar was invited by the Mexican National Museum of Art, MUNAL to recite paintings by Mexican master muralist J. C. Orozco. The first living artist to exhibit at the Museum he rooted himself within the history of Mexicos best artists, by rediscovering one of the greatest known muralists in the post-modern world.

Kinetic untitled, 2011. Silver point and oil on three dimensional wooden panel.

An exhibition of Cortzars work by Puerta Roja, held at The Space in Hong Kong offers a perspective retrospective through more than a decade of works and adds Cortzars latest unseen Kinetic series. This explores kinetic movement in art focusing on the relationship between form and space. In this series, I wanted to explore not only the relationship between form and space but go beyond to incorporate the concept of temporal spatiality. I continued to feel troubled and dissatisfied with the lack of volume and the burden on the imagination to see form. I believe art loses strength when constantly relying on imagination. I believe art should pursue more

complex ways to construct forms, to go beyond said Cortzar. In these new series of paintings, Ive attempted to place form and volume in unexpected places. This allows me to distort their representation, not through the imagination, but through the position of the form relative to the viewers own position to the painting. If I change this position slightly, the composition is either distorted to the point of becoming incomprehensible or, on the contrary, regains clarity and intensity. ROBERTO CORTZAR will be Presented by Puerta Roja at The Space, Hong Kong, 27-29 October, 2011

Photos: Puerta Roja

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FEATURE

Forest Unknown Andy Dewantoro

Soldier from Fukuoka series Angki Purbandono

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Waiting for the Signal Haris Purnomo

Indonesian Eye:
New Perspectives
Text by Roy Voragen

Ego Execution Ay Tjoe Christine

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FEATURE Indonesian Eye: New Perspectives

Dynamics Towards the Truth Edo Pillu

I have the answer Farhan Siki

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A Heavens Tale J. Ariadhitya Pramuhendra

n exhibition of Indonesian art is running at Londons Saatchi Gallery for the months of September and October. This may not seem like a major breakthrough but it is in fact a huge honour that offers new chances to the participating artists. Indonesian Eye is the brainchild of David and Serenella Ciclitira (founders of Parallel Contemporary Arts). The couple organised the exhibition Korean Eye, which was visited by a staggering 250,000 people in London. Indonesian Eye aims to introduce Indonesian contemporary art to a foreign audience and to provide the artists involved with new possibilities by making their work internationally more prominent. Indonesian artists have stepped into the global limelight in recent years. Actually, the event is part

of the Singapore Art Museum (SAM) which pioneered the mapping of artistic treasures from Indonesia, as recent exhibitions attest. And the advantage is that SAMs daring acquisitions are accessible to the public. Government support for the arts is negligent in Indonesia and there is no institute that seriously collects and showcases art to the general public. Unfortunately, therefore, this exhibition wouldnt exist without its private sponsors. Before moving to London, Indonesian Eye was shown in Jakarta at the Ciputra Artpreneur Center. Indonesian Eye includes 41 works by 18 artists and, beside a catalogue, it is accompanied by a book: Indonesian Eye, Contemporary Indonesian Art (500 works by 74 artists). Selecting the artists took a year.
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FEATURE Indonesian Eye: New Perspectives

Much of contemporary Indonesian art is indeed characterised by combining different techniques and narratives resulting in fluid juxtapositions.
It started with 400 artists. Such an intensive process required an extensive curatorial team; the international curators are Nigel Hurst (CEO Saatchi Gallery), Tsong-zung Chang (visiting professor at the China Art Academy and director of Hanart TZ Gallery in Hong Kong), and Serenella Ciclitira (she is also the chief editor of the book); and they were assisted by local curators Jim Supangkat (curator CP Foundation), Asmudjo Jono Irianto (independent curator), and Farah Wardani (executive director Indonesian Visual Art Archive). Hurst sees Indonesias cultural diversity as a strong point and he selected on hybridity. Much of contemporary Indonesian art is indeed characterised by combining different techniques and narratives resulting in fluid juxtapositions. However, according to Supangkat,
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often this isnt a deliberate goal; he claims, in fact, that Indonesian artists strength is their impulsive creative process, which is a polite way of saying that conceptual thinking isnt their strength (Angki Purbandono is an example, his experimental scanned images look amazing, but thats it). Artists are influenced by the context they live in, which is reflected in and commented upon in their work. Their work can function as an entry point into the complexities of Indonesian culture. However, putting together this mixture of young and established artists from Pramuhendra and Muhardanto (both 86) to Haris Purnomo (56) doesnt necessarily succeed as a group exhibition. Now they only seem to share a geographic location (Mella Jaarsma is Dutch-born). A stronger thematic focus would have helped. Still, this is a must-see exhibition; Andy Dewantoros Forest Unknown, Edo Pillus About Cosmology and Haris Purnomos Waiting for the Signal are among the highpoints of this exhibition. The author is a Bandung-based writer; he can be contacted at fatumbrutum.blogspot.com

Looking for a Fake President Heri Dono

Divided and Fold Pramuhendra

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Photos: Indonesian Eye/Saatchi Gallery

ART LANDS

I N D I A

Changing

Uniform series III 122 x 91 cm

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Faces
Text by Gladys Teo

Unifrom series IX 61 x 66 cm

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ART LANDS India

raming the Framed is Indian artist P.G. Dineshs first solo exhibition in Singapore. The artist presents an irreverent, yet often witty, critique of Indias social hierarchies and representations. Using a visual language of bright primary colours and pop-art images of people and animals, Dinesh puts the happy picture frames that are reminiscent of illustrations from childrens books under a sarcastic veil. He combines human bodies with animal heads, and encourages the viewer to question the morphed imagery of the artists protagonists. PG hails from Thrissur, Kerala, which has a very high literacy rate and is a city known for its wit and humour, explains gallery director Ms Suman Aggarwal. This is evident in multilayered, cerebral works that are characterised by high-pitched satire. One of PGs main critiques is of the Indian middle class, which is growing rapidly. This has, however, changed so much in the past 10 to 20 years. These families, particularly those in the big cities of Delhi and Mumbai, are hungry for material goods as a symbol of social status. They work themselves silly so that they can spend two months salary on a Louis Vuitton bag. Family Puranam represents a series of family portraits that are emblematic of the desired image that middle class families wish to portray to the rest of society. Here, Dineshs critique is clear: despite
30 TPAG | Oct 201 1

the ceaseless efforts of the middle class family, clad in fineries and other representations of avarice, to present the right image to others, they are held back by their tenacious traditional roots. Dinesh presents this dilemma by replacing the human heads with those of animals, attributing each family member with the traits of animals and birds, and critically subverting the cliched and stereotypical posturing. The viewer chuckles at the forced smile of the matriarch who looks more sinister than saintly; the granddaughter sitting beside her seems gender confused, having a masculine face complete with a moustache atop a girls body; meanwhile the daughter-in-law is swathed in a gold-trimmed sari with pearls strung around her neck aside a husband with the face of a devil. This is a typical image of a daughter-in-law in an Indian family, Ms Aggarwal reflects. It is something I can relate to. How I dress at the gallery is very different to how I am expected to dress as a daughter-in-law in family functions. There is an expected dress code that is expected to represent the family status. In his Tongue in Cheek series, Dinesh paints middle class men that are reminiscent of the male villains in traditional Kalighat paintings and they are the embodiment of treachery and greed. However, he gives them pious facial expressions that bloom from lotus motifs, as if alluding to Buddha. He then deconstructs the image

If you come from the big cities like Delhi and Mumbai where theres a booming middle class and new wealth against a backdrop of social class and status, you become part of the system! Aggarwal.

Uniform series IV 122 x 91 cm

by dressing these men in corporate suits and crowning them with headgear made out of leaves or fashionable, expensive sunglasses.

Culture and kitsch

Dinesh is not the only artist with a critical, irreverent attitude towards popular high culture. Cutting across a range of styles and representation, contemporary Indian artists project allegories, so-called urban detritus and the social malaise of the modern Indian family. The idea of materialism is something that is very relevant, said Ms Aggarwal. You see a similar subject matter in the works of Farhad Hussain. He paints middle class families in a more kitsch, pop-art style and every single character has that etched, plastic

smile on their face. Artists like PG come from a steady, stable, indifferent state where he can laugh at the spectacle of consumerism, however, if you come from the big cities like Delhi and Mumbai where theres a booming middle class and new wealth against a backdrop of social class and status, you become part of the system! The emphasis on social relevance is perhaps what makes contemporary Indian art so refreshing. Ms Aggarwal observes how art is not just a celebration of beauty but a pedagogical, discursive tool that is used to debate issues and exhibit commentaries on social, cultural, political currents in India. Through a labyrinth of references, artists return to narrative modes of representation, telling
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Family puranam series II 183 x 183 cm

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Photos: Indigo Blue Art

ART LANDS India

stories, revisiting folktales and mythologies. While there are diverse groups of artists across India responding to different themes giving rise to artistic eclecticism, diverse visual taste among artists, viewers and collectors, the same currents of globalisation, migration, gender identity are sweeping through in reality, affecting and syncing both artists and non-artists alike, creating strong platforms of dialogue and interaction between artists and viewers. Arpana Caurs works, which touch on the plight and sorrow of women, combined with religious references to Sikhism and Buddhism as well as narrative references to traditional folklore, have been institutionalised in the museums of India. Dineshs satirical depictions of military personnel resplendent in sharp crisp uniforms showing implicit power and identity, are instead donned with the heads of pigs, dogs, monkeys provoke acknowledgement and/or denial of the loyalty, corruption, greed of the State.

Age of artisans
Indian artists have a wide visual vocabulary, and the plurality stems in part from different trends in different parts of the subcontinent. However, Aggarwal notices that easel painting has been consistent throughout. The consistent adherence to the traditional, conventional technique of the two-dimensional surface of the canvas seems to

remain the choice for artists at a time when technologically advanced art forms like installations, photographs, and silk screens have dominated the market. Although the reluctance to move away from tradition appears to find resonance with the behavioural patterns in society where modern families are struggling to break free from the roots of tradition there may be greater forces at work here. The return to easel painting may be read as market driven, where collectors are starting to move back towards the artisan over the digital. We might be moving back to the fundamental notion of art, where the artist uses his hands to create. People may like to see the actual work being touched by the artist, the physical touch of the creator validates the work as a piece of art, and you can see the market starting to favour paintings, sculptures over digitalised mediums, says Ms Aggarwal. But it is also likely that avant-garde notions of progress are indexed through the embrace of convention. Artists are not being held back by the tradition of easel painting, but instead re-inventing forms and styles with modern, relevant subject matters, despite sticking to the traditions of a two-dimensional pictorialism to redefine the contemporary. Framing the Framed ran from 1 30 September 2011 at Indigo Blue Art, 33 Neil Road, Singapore.
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STORIES IN LIGHT

Painting on Shadows
Text by Gladys Teo

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Dancer

t is not every day that a person sits in a dark room trying not to blink, but the light paintings of Charlie Lim open ones eyes to amazing creative possibilities. As the artist waved the torch light around me in quick strokes, he etched different parts of my body in light. Seconds later, he instructed me to tilt my shoulders and avert my gaze from the camera. I could almost hear the intense concentration. His deliberate movements were swift as he painted me with light from the same torch all over again. Seconds later, I was free to move and take in what had happened as the lights flickered on.

A few minutes later, the work of the last 30 seconds showed up as a single image on the computer screen. Expecting an abstract composition, I was gazing at a clone, and where our arms met and overlapped, there was an area of delicate softness as double layers created different exposures for the torchlight. With no digital manipulation, and no computer rendering, this was a pure image captured by a single torchlight and a single camera shot. The true creative triumph, however, lay in the rendering of the oil painting photograph and the question of whether it was an oil painting or a photograph?
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STORIES IN LIGHT Painting on Shadows

I wasnt sure. It was definitely an image captured by a camera. However, it had all the characteristics of a Renaissance oil painting. It was also quite a lot like the Dutch master Rembrandt. In the image was a dark scene lit by a dim light source, and the chiaroscuro was evident. The dim hues and shadows created a sense of intrigue and mystery, and somehow captured the psychology of the subject, suggesting a sense of introspection. Such is Lims artistic incandescence. Lim is the creator and sole practitioner of this oil painting photography technique. Lims first love was oil painting, and he later ventured into commercial photography, and advertising art spawned his insatiable thirst to combine both oil painting and photography into a single tool. After years of experimenting, he developed this revolutionary technique of painting with light, successfully blurring the line between two traditionally different art forms. And the magic is that he used a simple LED light
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Rosa, the dancer

I am literally painting the subject with light in areas that I want the camera to see Lim.
source to shoot a still subject. He captures the clarity and realism of a photograph, together with the mysticism and magnificence of an oil painting. I am literally painting the subject with light, where I want the camera to see, said Lim. Its a cheap, simple, fuss-free, flexible photographic technique, but it takes lots of experimenting and forethought to get smooth even tones with no interference as well as quickly and accurately capturing the interesting creatives of the composition. I need to visually compose the picture in my head, decide

Rachel Wedding

where and how I want to torch my subject. The torch needs to keep moving to avoid spots where there is too much light or there will be over exposure. Speed also matters as it affects the brightness and sharpness of the final image. A martial arts expert himself, Lims emphasis on movement is manifested not only in his tool (the torchlight), but also in his compositions. Beyond still lifes and portraiture, Lims mastery of light painting is displayed in his shots of dancers and performers, capturing time, space and movement with a technique that seemingly only works if the subject holds still. Using a three-minute exposure on

his camera, Lim shoots a SpanishChinese dancer. She is dressed in a mandarin collared-top and a red skirt, holding an ornate oriental fan to her chest. She holds this pose for ten seconds. She then spins forward, turning to her side and poses there for another bunch of seconds as Lim illuminates her with his torch. Nimbly, the dancer pulls off her top to reveal a mid-riff second layer and throws the fan to the side, as if all this was part of the performance. The final pose culminates in the same dancer in the middle of a Flamenco number, holding a pirouette and elegantly stretching her arms over her head. A visually stunning composition showing the dancers Spanish and Chinese heritage, the strength of Lims light painting skill is a juxtaposition of the soft and supple movement of her red skirt and body. My dream is to photograph the world with a torch light, said Lim. All I need is my camera and laptop. Look, all I need is this bag and I can travel the world.
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Photos: Charlie Lim

GLIMPSE

Deadlocked
Text by Bharti Lalwani

Restraint, Joel Yuen 2011. 53cm x 14cm x 10cm each (wood); 57cm loop length x 1.3cm thick (rope). Tembusu wood, acrylic on hemp rope.

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Father & Son

oel Yuen was born in 1983 and studied Interactive Media Design at Temasek Polytechnic. He graduated with a Bachelors of Fine Arts in Photography and Digital imaging from the Nanyang Technological University. His insightful concepts have won him the prestigious 27th UOB Painting of the Year Award (2008) and a merit prize in the first Ngee Ann Distinguished Sculpture Awards (2010). Joel Yuen exhibited at Galerie Sogan & Art on 09.09.11 25.09.11. The exhibition was curated by Daniela Beltrani.

exhibition before my departure from London. I was first introduced to Vera from Galerie Sogan early this year from a friend. As we got to know each other better, we both agreed to collaborate on the solo exhibition.
How did you move into sculpture?

What inspired the exhibition?

After my graduation from NTU in 2010, I continued to take part in art exhibitions and competitions. I simply wanted to pursue my fine art practice on a full time basis. After getting accepted into Chelsea College of Art & Design for the MA Fine Art programme, my heart was set on doing a sculpture solo

I won the UOB Painting Of The Year Award in 2008 with a series of photographs entitled Anatomical Fantasies of Meat, Part Two. As it was the first photography entry that took the top prize, I was never really regarded as a painter, so to speak. It was only after I started my foray into sculpture that I could cement my position as an artist, period.
Did the movement into sculpture seem natural?

Yes, it was entirely natural. If you look at all my photography works, you will notice the highly staged
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GLIMPSE Deadlocked

Blind Supremacy, Joel Yuen 2011. 53cm x 22cm x 30cm (head); 5cm x 4cm x 4cm each (eyeballs); 137cm long x 0.7cm thick each (rope). Tembusu wood, acrylic on hemp rope.

Utopia

and controlled manner in which I handle my works. In fact, I spent most of my time sculpting objects only to be recorded by the camera. So, my process has always been the same, except the omission of the camera. The sculptures now stand in real space, outside the two dimensional reality.
Why was Tembusu wood used?

Tembusu wood is native to South East Asia, and is highly prized for its hardness and durability.
when I worked on the tree, the experience is quite different. I used to work on imported Italian marble and Mahogany wood from the Amazon. But for the Tembusu tree, which has an Asian context, that being about my personal identity as a Singaporean.
The sculptures seem to explore ideas of restraint, the suppression, and even the ego.

Tembusu wood is native to South East Asia, and is highly prized for its hardness and durability. This particular Tembusu tree has a significant meaning for me, because it has its history with Singapore. Planted in Kampong Java near KK Hospital where it has grown for the past 40 years, all its nutrients, the space and air which it depends upon are the same as mine. So,
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I was born and raised a Catholic, educated in Catholic schools in Primary and Secondary level,

Judges to be inspired. But when I engage in my work, I want the sculptures to have a universal and secular meaning. It is the message that I want to bring out to my audience that is crucial. If you look at Restraint, it is a pair of forearms being tied up and hung on the wall. The binding symbolises the modern day attractions which every working adult is striving towards. It could be about money, power or pleasure. These attractions are not bad in themselves, but when one becomes obsessed with it, that is where the problem lies. Restraint reflects the concept of being enslaved to an obsession, thereby not being truly free as a person.
What kind of effect would there be if the sculptures were in Fort Canning?
Anchored, Joel Yuen 2011. 93cm x 109cm x 46cm. Tembusu wood, acrylic on hemp rope, metal.

concepts of the Christian mystery and Biblical narratives are major sources which influence the way I think and act. So, if I were to omit those influences in my work, then the sculptures would appear indifferent to me. For all those years, every single event which took place pointed towards hope and salvation. It was all paved out for the coming of Jesus Christ. These are my thought processes, and I have used some narratives from the book of Genesis, Exodus and

There is actually an irony about it. Initially, I thought that the works would suit being in the park better, because of the organic nature of wood, the size (Shackled & Fertility) and the contrast the red ropes can give in a natural setting. However, when I see the sculptures in a gallery, the presence they give is very different. In the park, they are consumed by the natural beauty of nature. They seem less significant. But in a gallery, it is quite the opposite. The sculptures become significant in the way it commands authority against a plain white wall. The sculptures now appear larger than life.
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PORTFOLIO: Market Voices

Sundaram Tagore:
By Remo Notarianni

Tradition and Transcendence.

Madame Adelaide Robert Polidori, Cabinetintrieur de Madame Adlade, (56 C). Chteau de Versailles,France, 1986, archival inkjet print, 33 x 43 inches.

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Sundaram Tagore Gallery, Hong Kong

Sundaram Tagore

undaram Tagore Gallery has supported Fine Art Asia since the fair started in 2006. It has branches in Hong Kong, New York and Beverley Hills. The gallery specialises in artwork that interweaves the modern, the cultural and the abstract. TPAG talked to founder Sundaram Tagore on the importance of the gallery at the fair and its enduring role in the context of a changing art world. TPAG: How has Sundaram Tagore appealed in Asia? I established the first gallery in SoHo in New York in 2000. From the very beginning, Sundaram Tagore Galleries devoted itself to examining the exchange of ideas between Western and non-Western cultures. The galleries focus on developing exhibitions and hosting not-for-

profit events that engage in spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, the goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, their interest in cross-cultural exchange extends beyond the visual arts into many other disciplines. TPAG: What is the importance of Fine Art Asia and the significance of the work at the fair? Sundaram Tagore Galleries is extremely mission-driven and hence highlights artists of cross-cultural values. As we are in Asia, it is important to recognise that there is a great tradition, and that the past is of high relevance to the present artistic production, i.e., an artist working today
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PORTFOLIO: Market Voices

We are encircling both Western and Eastern artists who bring in that dialogue between figuration and abstraction. Sundaram Tagore
will incorporate and engage in the refined aesthetic training and philosophy of more than 6,000 years in order to make his work valid as contemporary art. In the West, however, because of Modernism and the idea of rejection, there was a break from the past. Artistic activities hence are more post-modern in value in Asia than in the West since Asian works are overarching the worlds of both tradition and modernity. Therefore, presenting contemporary art in the context of antiquities is valid and necessary at times. TPAG: Sundaram Tagores artists seem to be defined by a universal abstract style that communicates beyond the figurative. Is that part of the vision? Sundaram Tagore Galleries is devoted to examining an exchange of ideas between Western and nonWestern cultures. We focus on developing exhibitions that engage in spiritual, social and aesthetic dialogues. We only want to present art that is enduring and universal. Initially, it was the universal style and language that was the reason for my growing towards Abstract arts. But in Asia, figural art is tantamount to being the basis of culture, and the human figure is the foundation of most Asian cultures and arts. It would be wrong to deny that, so we are encircling both Western and Eastern artists who bring in that dialogue between figuration and abstraction. They speak a language much more universal and still main44 TPAG | Oct 201 1

tain their roots, which gives them their validity. TPAG: What do you think is driving art sales in Asia and globally at the moment? Art has been in existence for 60,000 years, since the earliest cave paintings, and will continue to exist as a spiritual diet. In addition to that point of view, economies in the Asian context are growing fast and Asian countries are rapidly developing and changing and along with that, a new taste for acquiring contemporary art has developed. A certain segment of people are still buying art for spiritual purposes. Those are the most cultivated of all and the ones we are looking for as our clients. However, we cannot deny the fact that new collectors are people who have success in their business and have started collecting art, but they are more interested in collecting art as an investment opportunity. Generally, we do not encourage that part of the story, we are not speculating with our artists. TPAG: Do you think that it is good to buy art for investment purposes? The concept of collecting art has developed differently in Asia and the West. The West has had a head start of over 200 years of serious collecting. However, in the East, the collecting of contemporary art is more recent. When collectors in the West decide to spend millions of dollars, they are very careful about

Sundaram Tagore Group Show Hong Kong

Sebastiao Salgado, The Global Photographer install, Sundaram Tagore Gallery Hong Kong

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PORTFOLIO: Market Voices

Hiroshi Senju Show 2008, Sundaram Tagore, New York.

the artist they choose. These collectors are both educated and acculturated in the art context and they tend to buy art they like and not necessarily for investment reasons. In Asia, it feels that people are more interested in talking about art as a commodity although that is quickly changing and the aesthetic reasoning is coming to the front in their needs for acquisition. What are the advantages and disadvantages of Hong Kong and Singapore as art markets? Obviously, the current advantages of Hong Kong are that it is Asias world city with a perfect transportation network, low taxes, free trade, and a great pool of potential clients. The disadvantage may be that Hong

Kong is becoming oversaturated. It has to rise to the challenge of being a chosen destination for many international and local galleries, for art collectors, and for art aficionados. There is the risk of having too many galleries in a small place, and the system could implode. We need to hope that Hong Kong will develop further into an internationally renowned and important artistic center as we were among the first ones who helped initiating this process. Hong Kong is becoming more a consumer center whereas I have the feeling that Singapore is becoming more and more of a production center. Whether this is true or not and whether both cities are able to fulfill these, their aspirations or not, only time will tell.

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Photos: Sundaram Tagore

ADVERTORIAL

ART EXPO MALAYSIA

28OCT - 1NOV, 2011
Venue: MATRADE Exhibition and Convention Centre (MECC), Kuala Lumpur Dates: October 28 to November 1, 2011 Time: 10:30 am 7:30 pm (Oct 28 Oct 31), 10:30 am 5 pm (Nov 1) Open to Public. Free Admission. (Indonesia), Koong Gallery (Indonesia), H Gallery Art & Painting (Indonesia), Summit Arts Collection (Myanmar), Galerie Joaquin (The Philippines), and Galerie K Moeller (Vietnam). Other participating galleries from Asia are William Contemporary Art Space (Taiwan), Saffron Art Gallery (Taiwan), Art For All Society (Macao), Chit Fung Art (Hong Kong), Art Futures Group (Hong Kong), Ejaz Galleries (Pakistan), Lakshana Art Gallery (India), Chelian Art Gallery (India), Art & Identity (Iran), Asian Artists Network (Japan) and Shiraz Gallery (Iran). Spains Madrid-based ATR Gallery will showcase works from Pablo Picasso and Joan Miro, which is rarely seen in Malaysia, and Jesus Curias bronze sculpture which was a sold-out in Art Expo Malaysia last year. Ludvig Gallery Budapest from Hungary, 5-time participant since the inaugural event, will have the father-and-son outfit of Zoltan and Daniel Ludvig with their polished works. Also, out of the TOP 10 Chinese contemporary artists from China, at least 5 of the TOP 10, their original museumquality artworks will be exhibited. Their works carry a lot of weight (prices fetching millions easily in auction houses), and would be the first time ever in Malaysia history for the public to admire such Chinese contemporary arts pieces. Participating artists include Yue Minjun, Feng Zhengjie, Yin Chaoyang, Fang Lijun, Wang Guangyi, Miao Xiaochun etc. Feng Zheng Jie himself will be present at the art fair. Art Expo Malaysia 2011 is under the esteemed royal patronage of Crown Prince and Crown Princess of Perlis, DYTM Tuanku Syed Faizuddin Putra ibni Tuanku Syed Sirajuddin Jamalullail, and DYTM Tuanku Hajjah Lailatul Shahreen Akashah Khalil. For enquiries, please contact 03-7728 3677 / info@artexpomalaysia.com or log on to www.artexpomalaysia.com

A
Haris P

Jeritan Abad 21

Yue Minjun

Zhou Jingxin

rt Expo Malaysia 2011 will take place on the 28 October to 1 November 2011, at MATRADE Exhibition & Convention (MECC), Kuala Lumpur. The five-day mammoth art event has come to the fifth edition this year, attracting 55 participating art galleries and organisation from 20 countries. Organising Chairman Vincent Sim Tiak Choo said, On the Malaysian side, its an almost full house of leading galleries with a great mix of established artists, superstars and emerging young artists. The Malaysia bandwagon will have National Art Gallery Malaysia, House of Matahati, Richard Koh Fine Art, Artseni Gallery, RA Fine Arts, Pelita Hati Gallery of Art, A2 Gallery, Gallery Archana, City Art Gallery, Yahong Art Gallery, Art Accent, G13 Gallery, June Art Space, and Henry Butcher Art Auctioneers. Project Director Sim Pojinn said, Singapores galleries are not only featuring works from Singaporean masters and contemporary artists, but will also have internationally renowned grandmasters work on display such as Chinese artist Chen Yifei (MAD Museum of Art and Design) and Salvador Dalis sculpture (Ode To Art). Participating galleries include Art Trove, Impress Galleries, Dahlia Gallery, Ovas Art Gallery, Y2ARTS, Cape of Good Hope Art Gallery, Eight Art Gallery, Forest Rain Gallery, GJ Asian Art, Chan Hampe Galleries, MAD Museum of Art and Design, Goldmann Inc, Yisulang Art Gallery, and Ode To Art. Reputable Southeast Asian galleries have made their presence at the Art Expo Malaysia this year. They are Number 1 Gallery (Thailand), Puri Art Gallery (Indonesia), Art Xchange Gallery

PORTFOLIO: Collectors

New China Hands:

By Remo Notarianni

Art market boosted by mainland Chinese buyers

Nude Green Leaves and Bust by Picasso

uction houses are springing new surprises in 2011. These have been discovered at houses like Sothebys as anonymous telephone bidders become known. In the spring auction at Sothebys, the highest bid was Picassos Femme Lisant (Deux Personnages) at US $21.3 million. Its Chinese buyer made headlines as did the Chinese buyer of Picassos Nude, Green Leaves and Bust in 2010. So, what has been reported in recent years is a shifting demographic towards a collector once only interested in traditional Chinese art. There is a new generation of buyer in China and it is not only happening in China. At Lebarbe, an auction house in France, a Chinese buyer paid the highest price ever for a traditional Chinese work of art at a record US$31 million for a scroll painting. It should come as no surprise. In a post-Olympics Beijing, a tectonic shift in knowledge and modernity has created businesspeople seeking to translate a more worldly knowledge into material assets especially after decades of cultural conditioning by the Chinese Communist Party. The statistics fit hand in glove. There are now reportedly 7,500 mainland Chinese with wealth that exceeds one billion yuan as the global market was reported to have experienced a 30 percent drop in value in 2011. The statistics are encouraging, and it remains to be seen if the main-

40 TPAG | Oct 201 1

land Chinese buyer offers long-term economic hope for such a fragile market. We have seen a growth of Chinese clients participating in our sales, not just in Asia but also globally, said Jonathan Stone, Chairman and International Director of Asian Art, Christies. In the first half of 2011, we have seen Greater Chinese clients (Mainland China, Hong Kong and Taiwan) accounting for 13 percent of new client registrations, an increase of 20 percent year-onyear. When it comes to collecting, most people will start with something they are familiar with or something they can easily understand in relation to their culture, and they will wish to own rare and exquisite art from their own culture. If this worldly knowledge matches the wealth, an art market driven by art aficionados will put masterpieces into the hands of connoisseurs. The paintings have become nestled into collections as disposable income moves beyond yachts, brand goods and fine wine. Thats nothing new. Art pieces have often trailed affluence as badges of prestige and status symbols as well as investment. The question is when this will be driven by a genuine passion for art. Chinese collectors are increas-

ingly attracted to buy masterpieces of Western Contemporary Art, like Picasso or Lichtenstein, as they consider these purchases to be liquid investments and important status symbols, said Mila Bollansee, gallery manager of the Beijingbased Beyond Art Space, which resides in the citys 798 Art Zone in the Chaoyang district. The area, first established by the Chinese government in the 1950s to build factories in cooperation with the Soviet Union, has the vibrancy of the commercial end of a Bohemian village comparable to art districts in places such as New York. It may have been built on a vision that became lost in the rising tide of a booming China that has become more global as it has absorbed influences from the outside world; and with a selection that is likely to be varied, and more discerning as a new generation of buyers become more sophisticated. Younger, more savvy collectors, even invest in works of important younger but already established Western artists like Olafur Eliasson, Damien Hirst or Marc Quinn, said Bollansee. It is a sign that the art world is global here and that the Chinese intend to buy the best from all over the world.
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PORTFOLIO: Business Model

Belgravia Gallery:
Text: Remo Notarianni

Etching out a niche

Robert Shum and Anna Hunter, Exhibition of a Collection of Royal Art at the British Consulate-General, Hong Kong - Jan/ 2011

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Exhibition of a Collection of Royal Art, Hong Kong at the Rotunda, Exchange Square - Jan/Feb 2011

s talk of a booming art scene in Asia reaches dealers in search of new markets, a quiet cluster of galleries in Hong Kong has grown into an internationally recognised community, and brand name galleries are setting up shop as swelling crowds flock to its art fairs and venues. There was a time when it was unimaginable that major names would even consider it for business. Hong Kong has now firmly established itself as a major art and auction hub in the world, in the same way as New York and London, said Jonathan Stone, Chairman and International Director of Asian Art, Christies. Our auction house concluded its Spring season in Hong Kong this year with a total of HK$4 billion (US$515m). This represents the highest season total for Christies in Asia, which is a 68 percent increase over the same period a year ago and 17 percent over the second half of 2010 (HK$3.4bn/US$440m) and reaffirms

Hong Kong as a leading centre in the global art market. Londons Belgravia Gallery moved to Hong Kong in January 2011 as part of a strategic move that realised a gallerists long-held dream. Hong Kongs potential to add culture to its corporate ethos, sparked off an exodus of galleries attracted by the prospect of it becoming a reality. At the moment, such galleries are riding on a wave of optimism and a chance to fulfil business expectations. Belgravia Gallery was founded in 1986 by Anna Hunter, said Cailin Broere of the Hong Kong branch of Belgravia Gallery. Anna has always been fascinated by Hong Kong and its potential as a key player in the art world. I have been working with Anna and the gallery in London for over eight years and had recently relocated with my family to Hong Kong it seemed a perfect opportunity. The move is a tentative one though for many galleries that have

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PORTFOLIO Business Model

Belgravia Gallery at Fine Art Asia 2010

fitted their businesses into mature markets with tried and tested models and pre-existing demand. Belgravia has a large gallery in Mayfair, London, which has been there for the last eight years and it holds 12 exhibitions annually. Hunter started the business as a fine art publisher in Britain and worked closely with Royal Academicians to produce limited edition lithographs. In 1989, Hunter began working with HRH Prince of Wales and published limited edition lithographs of his watercolours to raise money for his foundation. The first gallery was in Belgravia and it now is located in Mayfair, a bustling art district. Hunters daughter Laura joined the business in 2001 and they have been running it together for a decade. In that time, a diverse range of art forms from lithographs to paintings, sculptures and fine art photography have entered the collection. Belgravias artists include Nelson Mandela, Trish Wylie, Jurgen Schadeberg, Charlie Mackesy, HRH The Prince of Wales, Picasso, Rembrandt etchings, Warhol, Paul Chizik, Greg Bartley, Robert Indiana and Jan Coutts. Exhibitions by Pop Artists, Russian painters, post-impressionist
52 TPAG | Oct 201 1

painters and Greek artists are held annually at the gallery. In London, it is a case of shouting above the crowd and although Belgravia is potentially part a niche market in Asia, it is finding a place in the market. Although it is too early to map out the direction of the industry, the optimism of an emergent market as it tries to keep pace with changing market forces, and as local collectors become familiar with artwork from overseas, will help it to reach its potential. The gallery also specialises in etchings and fine prints, a new art form in Asian markets. Belgravia has made its entry into the market on the Asian collectors passion for the new, and wellknown names are the safest bet to begin with. We have found that paintings and artworks by well-known names are well received, said Broere Works by Western artists, not known in Asia and without Asian roots are more challenging. We have had a great deal of interest in the artwork that we have shown to date. The gallery has always been involved in publishing and selling limited edition lithographs.

Photos: Belgravia Gallery

SPACE

Simone Boon: Shaping the Flow

Text: Remo Notarianni

Before the roaster, 1994. Stoneware with metallic glaze and special acid treatment around 40 cm high. (sold)

Dzzzz, in 3, 2010. Ultrachrome pigment print on archival photo paper.

ong Kong-based Dutch artist Simone Boon has worked with photography, sculpture and video art and her personal engagement of space and light is inspired by the different cultures she has lived in. Her oeuvre is unified by common themes, colours and tones that embody a world view shaped by varied experiences and philosophies. My inspiration comes from a mix of influences and life experiences, reveals Boon. Living in the East as

a Westerner has given me an extra dimension things become more relative, even time, combined with philosophical concepts encountered during research in theological study and art studies. This is the source of my inspiration. In her work across mediums, there is a combination of intellectual exploration and an intuitive shaping of materials. This creates an embodiment that expresses the relativity of entities in space and their relation53

PORTFOLIO Business Model

Ceramic Poem, 2011

Cool Breeze, 2010. Ultrachrome pigment print on archival photo paper. (left) Timeless / or Dance .. Dance, 2010

ship with time. There is a strong flow in the evolutionary images that depicts the changing positions of subjects. This is presented in sculptures that emerge into solid forms, but that cannot grow beyond their sense of fragility, and photographs of female figures in varied states. The images have a culturally iconic quality. While Boons visual proposal can be perceived as a criticism of the dominance of masculinity, it stresses the flowing essence of femininity. A symbol of fertility attuned to the changing rhythms of reality and Boon alludes to French philosophers Henry Bergsons statement that Form is only a snapshot view of transition. This idea became my source for exploring other ways of photographing, said Boon. The aim is to capture human essence that may fluctuate and an identity that is not established by opposing itself to otherness but formed within relational patterns, in a flow of becoming. It is like the thought of

Danish Philosopher Soren Kierkegaard and makes sense for both male and female identity. Boon, while Dutch by nationality, was born in British Borneo and has lived in Venezuela, among other places. She is thus familiar with a sense of continuous but displaced movement. But with the same flexible sense of discovery, to begin with, she creatively gravitated towards sculpture while she was studying painting and drawing. And this has navigated her artistically. Some years later, she studied sculpture at the Royal Academy for Fine Art in Dendermonde, Belgium, and went on to study at the Academy in Antwerp. She finalised her degree at RMIT University with the Hong Kong Art School. So, in short, I started with sculpture and the other art forms naturally evolved from it because of a internal urge and desire to express myself in different art forms, said Boon, whereby the three dimensional takes a big part in all of the ways I

54 TPAG | Oct 201 1

Behind windows, 2011

express myself. A dialogue with space that looks at the relationship between the movements that ensue between these things and it is an important part of the direction that the artwork takes. In her 2010 series called Girls Unfrozen, Boon took studio shots of females who move into abstract blurs. They resemble entities in transition that are difficult to make out but whose identity is best defined by that movement. Yet it is interesting that the same trail of energy is found in Boons work with sculptures and ceramics. My first ceramic series were objects based on the vessel form combined to the human figure, said Boon. I prefer monochrome tones mainly, the dark red brown colours of sawdust firing where the skin looks warm with some nuances, not asking for the main attention but enhancing the form. So, I like to work with plain porcelain as well as it has something very tactile, and is attractive to the senses. A plain porcelain body needs to be sandpapered in

different stages to get a soft skin, like marble needs to be sandpapered and polished - when the aim is a soft or shiny surface. Plain porcelain enhances the working of shadow and light. Boon recently did interdisciplinary work with video, making her porcelain sculptures into a canvas with images projected onto it. The cross-medium dialogue articulated her own artistic discourse and illustrated relative ideas about our environment. Between the artwork and the viewer there will be a spatial space to be filled with the perception and thoughts of the viewer and with the ideas and visual expression of the artist who made the piece of art, so it is always two sided, said Boon. The art piece will impose an atmosphere, an idea or mood, while the viewer cannot influence the art piece or artist who made it anymore. It was already made, but the mood of the space that exists in between both is determined as well by the art piece as well as by the viewer.

55

Photos: Simone Boon

Living in Ceramics
Solo exhibition by Lee Se Yong
20 October 10 November 2011

Living in Ceramics runs from 20 30 October at

Social Creatives Museum @ Millenia Walk, 9 Raffles Boulevard #0255,
thereafter from 1 10 November at 2 Mistri Road #0102. For more information, please call 6738 2317.

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Sunjin Galleries (S) Pte Ltd 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 Tuesdays Fridays: 11am 7pm | Saturdays: 11am 6pm | Close on Sundays and Mondays Tel: 67382317 | www.sunjingalleries.com.sg | blog: www.sunjingalleries.blogspot.com

art directories
63 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

Cape of Good Hope Art Gallery 140 Hill Street, #01-06, MICA Building, Singapore 179369 v +65 6733 3822 Y capeofgood hope@pacific.net.sg www.capeofgoodhope.com.sg
Daily: 11am-7pm

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

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

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

Indigo Blue Art 33 Neil Road, Singapore 088820 v +65 6372 1719/38 Y info@indigoblueart.com www.indigoblueart.com
Mon - Sat: 11am-6pm

Bruno Gallery 91 Tanglin Road, #01-03 Tanglin Place, Singapore 247918 v +65 6733 0283 Y singapore@brunoartgroup.com www.brunoartgroup.com
Weekdays: Tue - Fri: 10am-7pm Weekend: Sat & Sun 11am-8pm Closed on Monday

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

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.

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.

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@

63

art directories
OVAS Art Gallery 9 Penang Road, #02-21 Park Mall, Singapore 238459 v +65 6337 3932 www.ovashome.com
Daily: 11.30am8.30pm

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

ZiJuan Art Gallery 19 Tanglin Road, #0207 Tanglin Shopping Centre, Singapore 247909 v +65 6733 0289 HP: +65 8160 0058 Y zijuanart@ hotmail.com www.zijuanyy.com
Mon - Sat: 11am-6.30pm Closed on Sunday

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

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

Art Auctioneers
Christies Hong Kong Limited 22/F, Alexandra House, 18 Chater Road, Central, Hong Kong Borobudur www.borobudurauction.com Larasati 30 Bideford Road #03-02, Thong Sia Building, Singapore 229922

Richard Koh Fine Art 71 Duxton Road, Singapore 089530 v +65 6221 1209 Y info@ rkfineart.com www.rkfineart.com

Tue - Fri: 11am-7pm; Sat: 11am6pm 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.

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

Tues - Fri: 11.30am-7pm, Sat: 12noon - 6pm Mon by appointment only. Closed on Public Holidays

Galerie Sogan & Art 33B Mosque Street, Singapore 059511 v +65 6225 7686 Y vera@ soganart.com www.soganart. com

Mon - Sat: 12noon-7.30pm; Sun: 2pm-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

Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street National University of Singapore Museum (NUS) University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279

64 TPAG | Oct 201 1

Conservation / Restoration

Artist Studios
Chieu Sheuy Fook Studio Studio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985 v +65 9669 0589 Y chieusf@ gmail.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

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.

Art Services
ma ARTS v +65 8611 5280 Y alfred@ maarts.com.sg
Transportation & Installation of Art Works and other Art related services.

Art Schools
LASALLE 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St The Singapore Tyler Print Institute 41 Robertson Quay

Rays Transport & Services v +65 9152 2511 Y artswithray@ gmail.com

Artwork Installation & Delivery Services.

Santa Fe Art Solutions v +65 6398 8518 M: 9758 8294 Y artsolutions@ santafe.com.sg

Specialized services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.
65

art directories Hong Kong Galleries

Puerta Roja Private Latin Art Space Shop A,. G/F Wai Yue Building, 15 17 New Street, Sheung Wan, Hong Kong v +852 2803 0332 Y info@puerta-roja.com www.puerta-roja.com
By appointment

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 Asia Top Gallery Hotel Art Fair (AHAF HK) 24 26 February 2012 www.hotelartfair.kr 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 Contemporary Istanbul Art Fair 24 27 November 2011 www.contemporaryistanbul.com Art Dubai 21 24 March 2012 www.artdubai.ae

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

Get listed with TPAG. Gallery listing Package: SGD700 (per annum) inclusions of one image, address, contact details & operating hours and gallery description. Standard listing: SGD600 (per annum) inclusions of address, contact details and operating hours. Email us for sales form at sales@thepocketartsguide.com
66 TPAG | Oct 201 1

10

TPAG Art Tours: HK

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 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

6 7 8 9

4 5 11 2 78

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 Hong Kong Museum of Art 10 Salisbury Road, Tsim Sha Tsui, KLN 1 0 www. hk.art.museum v 852-27210116 Hong Kong Cultural Centre 10 Salisbury Road, Tsim Sha Tsui, KLN 10 www.icsd.gov.hk/CE/ CulturalService/HKCC v 852-27342009

Blue City by A. Eugene Kohn, 30.5 x 23 cm

Swire Island East 18 Westlands Road, Island East, Hong Kong 18 www.swireproperties.com v 852- 28445095

10

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.

3 4 5

Jockey Club Creative Arts Centre 30 Pak Tin Street, Shek Kip Mei, KLN, HK 3 0 www.hku.edu.hk/jccac v 852-23531311

11

Puerta Roja Shop A, G/F Wai Yue Building, 15-17 New Street, Sheung Wan, Hong Kong 15 - 17 A email : info@puerta-roja.com www.puera-roja.com Telephone: (852) 9729 1773

Gaffer Ltd 6-8 17th floor Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong 7 17 6 - 8 www.gaffer.com. hk jules@gaffer.com.hk Telephone: (852) 2521 1770
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TPAG classifieds
LotusAdv2011B.pdf 8/9/11 18:19:12
C M Y

Artwork Exhibition space Art lessons Art materials

CM

Space for hire

MY

CY

CMY

Space for hire

The Paintings of Pan Zheng Pei (1934 - 2004) Date: 24/09/2011 8/10/2011 Place: ZiJuan Art Gallery, 19 Tanglin Road, #02-07 Tanglin Shopping Centre, Singapore 247909 Contact: (65) 6733 0289 HP: (65) 8160 0058 Mon - Sun: 11am - 6.30pm.

Living in Ceramics. Solo exhibition by Lee Se Yong. 20 Oct 10 Nov 2011 Title: Blue Painting Size: 72 x 53 cm Contact: Sunjin Galleries at 6738 2317

Space for hire

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68 TPAG | Oct 201 1

| Asias Global Art Magazine

ISSUE 24 OCT 2011