TPAG NOV 2 01 1 / ISSUE 2 5

David Medalla

AffordableArtFair.sg

Contemporary art priced between S$100 and S$10,000

18 - 20 November 2011 F1 Pit Building, 1 Republic Boulevard, Singapore 038975

Tickets at www.sistic.com.sg

ORGANIZED BY THE PHILIPPINE EMBASSY IN SINGAPORE

PHILIPPINE

TREK
2 0 1 1

ART

NUS MUSEUM VALENTINE WILLIE FINE ART ARTESAN GALLERY + STUDIO TAKSU SINGAPORE GJ ASIAN ART MOMENTOUS ARTS GALERIE SOGAN & ART SUNJIN GALLERIES

T PAG N o v e m b e r 2 0 1 1 / I s s u e 2 5

Conte nts
EDITORS LETTER 6 ART WIRE
4 42

Gallery updates and events

PORTFOLIO: MARKET VOICES

10
David Medalla: A break in the clouds

IN THE FRAME

The relaxed rise of the flipflop fair

46

PORTFOLIO: COLLECTORS
Cautious optimism drives autumn sales at Sothebys

16

Pixels in Perspective

FEATURE

20

The Philippines: Exile and Inspiration

ART LANDS

26

ANTIGONE: A Lecture of Rediscovery

STORIES

48

London warms to contemporary art at Frieze

SPACE

55

Art Galleries in Singapore

MAP

30

Breaking the Mould

GLIMPSE

36 PERSPECTIVES
The Ethos of Modern Masters

DIRECTORY LISTING 68 CLASSIFIED

60
3

Contents Nov2011.indd 1

10/25/11 11:45 AM

editors
Dear Readers,

l e tte r

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

Editor-in-Chief

The November 2011 issue of The Pocket Arts Guide (TPAG) coincides with a number of interesting art events. The Philippine Art Trek V puts the spotlight on a nation of influential artists who may not have received the global recognition they deserve. One of the highlights is David Medalla, an artist with such a wide oeuvre it is difficult to box him. As mentioned in this months Art Lands, the nations free-spirited artists have shunned categorisation, and with the revolutionary fervour that shakes hierarchical structures. The Affordable Art Fair, which visits Singapore this month, in many ways also breaks down power structures. The underlying concept of the fair is not only about selling affordable art pieces, but also giving lesser known-artists a chance to be recognised without having to rely on galleries and biennales. Within this, there lies a debate about the gallery and the spirit of art. This issue also looks at Londons Frieze event, which is one of the single most important art events globally, not only because of its size and traffic but also because of the experimental art is showcases. The event also reconfirms Londons standing as an arts hub, even in the face of competition from elesewhere. A report on Sothebys October auction points to some dark clouds on the horizon, and it may just take that revolutionary spirit to ride out the storm.

Remo Notarianni
remo@thepocketartsguide.com

Art Director

Melvin Ho

melvinho@thepocketartsguide.com

Contributors

Gladys Teo, Bonnie Engel, Rudabah Abbass,Daniela Beltrani

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
David Medalla and Adam Nankervis, The Aromatic Mandala, Berlin

04 TPAG | Nov 201 1

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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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art wire

Jumuwarnti and Goonboorooru - Waterholes and Caves

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

WANTED: possession and rejection New works by Eric Chan 11.11.11 11.12.11

Simone Boon: sculpture and photograhy showcased at Affordable Art Fair Singapore 18.11.2011 20.11.2011
At Booth H2 Affordable Art Fair
Singapore

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 of 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.
06 TPAG | Nov 201 1

Chan Hampe Galleries www.chanhampegalleries.com

Singapore

Preceding Eric Chans highly anticipated solo exhibition of new works, Chan Hampe Galleries presented a snapshot retrospective of his paintings from 20052010 during the month of October. Amongst the works featured was the artists signature floral paintings. 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.

Dutch artist Simone Boon has worked with photography, sculpture and video art. Her personal engagement of space and light is inspired by the different cultures she has lived in. Boons photography might be perceived as a criticism of the dominance of masculinity, but it stresses the flowing essence of femininity. Boon captures 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. Simones shots of females move into abstract blurs. They resemble entitles in transition that are difficult to make out but whose identity is best defined by that movement. Her photography and sculpture will be showcased at the Affordable Art Fair Singapore this month.

ETHOS VI 12.10.11 30.11.11

Indigo Blue Art www.indigoblueart.com

Singapore

PLAY FOR TIME: Solo painting exhibition of Anthony Palomo 24.11.11 06.12.11 R.e.p.l.a.y: A Group Exhibition by Justin Lee CK, Ranae Lee, Loh Sau Kuen and Tay Bee Aye 2.11.2011 10.11.2011
Social Creatives Museum @ Millenia Walk www.sunjingalleries.com.sg
Singapore

SOCIETE GENERALE Private Banking Gallery Alliance Franaise de Singapour www.alliancefrancaise.org.sg

Singapore

Based on the themes of re-looking, re-thinking and re-loading, this exhibition marks a reunion of sorts of former classmates who graduated 12 years ago from the School of Fine Arts, Lasalle-SIA College of the Arts. This exhibition is a reflection of discoveries, implementation and strategies towards art making. Margaret Tan Ai Hua is involved in the project. I make, remake and unmake my concepts along a moving horizon, she said. From an always decentered centre, from an always displaced periphery which repeats and differentiates them. Repetition, as certain French philosophers have taught us, is inseparable from difference since individuals remain bound to the varying forces that constitute them. It hence also implies contingencies, and a unique series of things or events.

A member of the historic Salingpusa art group, Anthony Palomo is concerned with easel painting as a mode of social realist commentary, his works are characterized by the representation of negative social emotions such as isolation and weariness in a highly urban environment. Palomos trademark paintings are melancholic representations of Filipino foreign workers imbued with a wide color palette. His depictions of Filipino foreign workers are both realistic and allegorical introspections of his personal experience working as a graphic designer in West Malaysia in the 1990s. Filipinos compose one of the w o r l d s largest populations of overseas workers populating major capitals, minor towns, even remote villages. Palomo chooses not to depict fellow Filipinos that he met overseas as call centre agents or enslaved white collar workers, instead electing to showcase the artistic and musical talent of his countrymen. His characters have eyes filled with sorrow, homesickness and weariness.

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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art wire

Asia Pacific Breweries Foundation Signature Art Prize 2011 Finalists Exhibition 11.11.2011 4.03.2012

Humanscape 1.11.11 10.11.11

Singapore Art Museum www.singaporeartmuseum.sg

Singapore

The Fringe Club www.hkfringe.com.hk

Hong Kong

The Asia Pacific Breweries (APB) Foundation Signature Art Prize is an award to recognise artists whose artworks represent a significant development in contemporary visual art in the Asia Pacific region. The award is open, by nomination, to all visual artworks, regardless of medium, subject matter and size. The award is now in its second instalment. It reaches out to 24 countries and territories in the region, including Australia, China, India, Indonesia, Japan, Korea, New Zealand, Mongolia, the Oceania islands, Philippines, Singapore, Thailand, Vietnam and many others. The exhibition offers an excellent opportunity to see and discover some of the most exciting contemporary art produced in this dynamic region in the last three years. An international jury will then convene to judge the exhibited finalist artworks and select the winning artworks.
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Happiness Pte Ltd 2011: Back in Season 4.11.11 13.11.11

Utterly Art www.utterlyart.com.sg
Singapore

Back for a third year, William Sims Happiness Pte Ltd 2011 sets its chimerical seeds deep in the ground of his verdant mental landscape. The resulting crop of evergreen happiness sparkles in the dew of its sunlit hues. In the depictions, we can see hilarity from flowerbeds of insanely happy vegetation beneath a quiet surface. Blithely peering from the maddening patchwork of thoughts and ideals is familiarity hiding askew in objects of commonplace lunacy. It is a carefully crafted story of curiously unnatural things. Like an oddball grocer who offers a selection of freshly cut happiness, the fruits of which are ardently calibrated and injected with heightened fervency following each harvest.

Humanscape is a series of drawings and paintings comprised of human elements by artist Lee, Pik Wai Louise. The artist is keen on pondering upon peoples motives and psychological states through observing and ruminating on their gestures and conversations. In her working process, she picks images of people from the collection. She does not just copy them; and instead spends time to study them so as to allow feelings and information given by the images integrated to certain status. During the reinterpretation of these images, composition exploits context and color as texture competes with beauty and likeness. Imperceptibly, the co-existence of good and evil in human life has etherealised into a series of human scenes. The images prove that such depictions are evident in everyday images of human beings and can be communicated without symbolic representation.

Art @ Government Buildings 09.06.2011 30.11.2011

Hong Kong Arts Centre www.hkac.org.hk
Hong Kong

Revitalising the Glorious Tradition: The Retrospective Exhibition of Pan Tianshous Art 25.11.2011 05.02.2012

Art @ Government Buildings is an innovative idea presented by Hong Kongs Home Affairs Bureau and organised by the Art Promotion Office of the Leisure and Cultural Services Department in artistic collaboration with the Hong Kong Arts Centre and Public Art Hong Kong. The project has commissioned three renowned local artists, Man Fung-yi, Leung Chiwo and Justin Wong Chiu-tat, to design and install works of art in three selected government buildings Revenue Tower in Wanchai on Hong Kong Island, the Cheung Sha Wan Government Offices in Kowloon and the Tsuen Wan Government Offices in the New Territories. Drawing creative reference from the history and character of the community in which each building is located and using various media and techniques, the works seek to modify government offices with artistic elements and thus offer the public a new experience when visiting the buildings.

Hong Kong Museum of Art www.lcsd.gov.hk/ce/Museum/ Arts/english/exhibitions/

Hong Kong

Embracing the SlowAnnie Hsiao-Wen Wang 30.10.11 30.11.11

Gaffer www.gaffer.com.hk
Hong Kong

Following the successful exhibition entitled The Art of Pan Tianshou, held in the renovated National Museum of China in Beijing in early 2011, the Pan Tian-shou Foundation has joined hands with the Hong Kong Museum of art to stage this exhibition in Hong Kong and share his great artistic works. By assimilating the eccentric styles of ancient masters, introducing the seal as well as clerical scripts into painting, and combining the components of landscape painting with flower and bird painting, Pan developed a unique style which is characterised by expressive brushwork, vigorous forms, forceful composition and monumental scale. Visitors can explore Pans artistic career from his early works including Bamboo, and also his landscape paintings based on Wu Changshuos style, adopted during his teaching years in Shanghai and Hangzhou in the 1920s and 1930s.

Taiwanese artist Annie HsiaoWen Wang uses paint to evoke states of mind. Unlike Mark Rothko, 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. Gaffer will be showcasing Wangs work at Art Stage Singapore in 2012.
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IN THE FRAME

David Medalla

A break in the clouds

FROM MACHINES THAT BUILD TOWERS OUT OF BUBBLES TO TAPESTRIES WOVEN ACROSS CONTINENTS, FILIPINO ARTIST DAVID MEDALLAS CAREER IS A SHOWCASE OF SURREAL BREAKTHROUGHS.
Text: Remo Notarianni

avid Medallas Cloud Canyons a series of bubble machines that build organically hypnotic sculptures using air, soap, water, and electricity was hailed as one of the most influential artworks of the 20th century. It won the admiration of the American artist Man Ray in the 1960s. Through his work, Medalla mimics the dynamics of nature, with a kinetic interaction that reaches across mediums, and
10 TPAG | Nov 201 1

which conceptually opens up a dialogue with the universe. All of my work is informed by personal experience, said Medalla. It is the seed to which I apply a transcendent dialogue. The idea for my first bubble machine was rooted in my memories. During the Second World War, I was in my sisters arms when I saw a young Filipino guerrilla shot by a Japanese

David Medallas Cloud Canyons

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IN THE FRAME David Medalla

David Medalla, A Stitch in Time @ The Ikon Gallery, Birmingham 2010.

12 TPAG | Nov 201 1

Photos courtesy of Flickr community abi.ds photostream

Medalla describes his work as a dialogue between himself, the art and his audience.

soldier. The young guerrilla ran into our garden. The sight of him lying there dying, with red blood bubbles foaming from his mouth, made a strong impression on me. Flying over the Grand Canyon on my first trip to America, visiting a soap factory at the bottom of Notre Dame de la Garde in Marseilles, a visit to a brewery in Edinburgh in Scotland: these left deep impressions on me as well. David Medallas bubble machines became critically acclaimed inventions in their own right. In the 1960s, they were exhibited in the USA in an exhibition called Air Art at the University of California in Berkeley in what became known as his kinetic period. Medalla established art venues and galleries for decades. Medalla co-founded the Signals Gallery in London in 1964. For two years, the gallery was a showcase of avant-garde experimentation. According to Medalla it was, a spiritual adventure in understanding contemporary culture in the fields where art and science converged in harmony and energised each other.

Medalla described his work as a dialogue between himself, the art and his audience. But his daring kinetic expressions manifested themselves socially. In the 1960s and 70s, he launched a project called A Stitch in Time which addressed the concepts of travel, time and chance. Described as participation-production-propulsion, the project involved the collective sowing of small objects onto a cloth in different places around the world. The end product was a global tapestry, which was a testament to the teamwork of a collective. I have made many versions of A Stitch in Time, shown in many different places such as Documenta 5, curated by Harald Szeemann, in Kassel, Germany, and the Gallery House in London, in the exhibition A Survey of the AvantGarde in Britain, curated by Sigi Krauss and Rosetta Brooks (both in 1972), explained Medalla. The thing I like best about this work is that whenever anyone is involved in the act of stitching, he or she is inside his or her own private space, even though the act of stitching might occur in a public place.
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IN THE FRAME David Medalla

David Medalla, Muse du Louvre, 2008.

David Medalla and Adam Nankervis have been comissioned as the official MERZMAN artists in residence.

These socially organic expressions also take the form of impromptu performances that start a universal discourse with the environment. In the Dutch city of Rotterdam, Medalla spontaneously danced with objects in a flea market and in the US state of Texas, he acted out a Western as ice cowboys melted in the sun. Medalla celebrates the way that art permeates in different forms and carries around a notebook of sketches, ideas and performance scripts. Its from concept that the dialogue begins and this reaches out to the
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land. His oeuvre, which includes sand machines and sonic tapestries, is as all-embracing as the universal force he is addressing. Whether is my bubble-machine or A Stitch in Time, explains Medalla. My artworks have atomic beginnings. They begin small and simple and eventually they grow organically to monumental proportions. David Medallas Cloud Canyons are in the permanent collection of the TATE Modern and will be exhibited at TATE Britain in 2012.

David Cortez Medalla was born in 1942 in the Philippines. Medalla was a child prodigy who lectured at the University of the Philippines at the age of 12, studied philosophy and Greek drama at Columbia University in New York at 14 and founded the Poetry Club of Manila at 15. He moved to Europe, where he launched his career as an artistic innovator. Sites of Practice Performance Art Abroad includes performance art events and lectures is conceptualised and presented in partnership with NUS Museum. Sites of Practice will be the anchor event of seven other exhibitions to be held in participating galleries throughout Singapore during the month of November as part of the Philippine Art Trek V. Thursday, 3 Nov, 2011, 7.00pm-8.00pm - Performance by David Medalla with Christopher Adam Hellier Evans (aka Adam Nankervis) Bato- bato sa Langit ang Tamaan Huwag Magagalit. Literal Translation into English Stone-stone in Heaven (Sky), whoever Gets hit (by it) must not get angry. In the Philippines, during a Wake, the relatives and friends of the Deceased, to pass the night away, play a game, (somewhat similar to the Anglo-Saxon game Truth or Dare), whereby an imaginary meteor or comet (the Stone from Heaven) is passed from person to person. The person upon whom the comet or meteor lands is invited to recite a poem or sing a song. Thus: the Deceased travels to heaven accompanied by the voices of his/her relatives and friends. Sites of Practice - Performance Art Abroad Thursday, 3 Nov, 2011, 5.00pm-5.15pm - Opening Remarks by Amb. Minda Calaguian-Cruz, Philippine Ambassador to Singapore, and Ahmad Mashadi, Head of NUS Museum. Thursday, 3 Nov, 2011, 5.15pm-6.15 pm - Talk by David Medalla, Halo-Halo at Guinataan. Literal translation into English: Mix-Mix and Coconut Creamd. During this talk I will evoke memories of my happy childhood in the Philippines. I will relate the many different ways have inspired my art over the years. I will dedicate my talk to the memory of my mother and in remembrance of Filipina women who were my mentors when I was growing up in the Philippines,including Pura Santillan-Castrence, Purita Kalaw-Ledesma, Lydia Arguilla-Salas, Concepcion and Natividad Dadufalza, Josefina Constantino, Miss Parfan, Miss Orendain, Nena Saguil, Estrella Alfon, Paz Marquez-Benitez, Consuelo Abaya, Mary R. Tagle, Eva Florentino, Lina Obieta-Sevilla, Nina Puyat and Eva Estrada Kalaw, Rosalinda Baby Orosa, Leonor Orosa-Goquinco, Wendy Barnes -Lopez, Bessie Hackett, Telly Alber-Zulueta, Tita LacambraAyala, Joan Edades-Cuadra and many others. David Medalla

David Medalla performing Dream of the Chimney Sweap

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FEATURE

Red Carpet 1, 294.6 x 221cm, 2007. C Print & diasec, edition of 5

Pixels in

The details

On display at Musee Guimet Paris

Perspective
Text by Bonnie E. Engel
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Newspapers, Inkjet UV Print on Aluminium

Books II, Inkjet UV Print on Aluminium, 2010-2011 62 X 62 X 62 cm, Edition of 5

akistani artist Rashid Ranas first solo exhibition in Hong Kong, currently running at the Pao Gallery in the Hong Kong Arts Centre in Wan Chai, is a paradox of appreciation. His large, colourful photographic mosaic pieces, with their powerful narratives of duality and contradiction, draw viewers in and, in some cases, repel them. Ranas Red Carpet series, where the larger image of a beautiful carpet is composed of micro images of an abattoir, is one of the most startling examples. Red Carpet set the world record at an auction for a work of art from Pakistan in 2008. Gandhara-art Hong Kong in collaboration with the Lisson Gallery, London is presenting Translation/ Transliteration from 21 October to 18 November 2011, and introduces this important artist to Hong Kong audiences. Rana, from Pakistan, has been called South Asias most eminent contemporary artist and has been acclaimed by critics since his debut solo show in India in 2004.

Talking excitedly about his exhibition, Rana said he started out influenced by the long tradition of miniature paintings and the aesthetics of minimalism. His work was conceptual and abstract until the late 1990s when pop culture converged with technology, and he changed his style completely and used photography, digitalisation and recently to video. I use photobased content and digital media but they are not the end but the beginning. I have also created sculpture, which I am still producing but using micro-photos and different technical processes. Gandhara-art Director Amna Navqi, one of the shows curators, said Rashid works at warp speeds. He takes pixellated photos of billboards in Lahore, for example, and from that makes a large portrait of a Mogul Emperor. He makes sculptures out of piles of books and newspapers, intriguing to the eye from afar and minutely detailed up close. His four main narratives, miniatures, abstract expressionism,
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FEATURE Peculiar Pixels

The Steps, Inkjet UV Print on Aluminium.

My art is more complex than East-West fusion. I am open to the past but I also reflect my immediate surroundings. - Rana
sculpture and photography or new media, show his lively mind. Rana does not like the term new media as he feels the cameras and new production techniques, the Diasec process and Ciba printing, are just tools that crept into my art. He is knowledgeable about art history but simultaneously more aware of the globalisation of contemporary art since his breakthrough solo exhibition in India in 2004 that put him firmly on the international art map. My art is more complex than East-West fusion. I am open to the past but I also reflect my immediate surroundings. Lahore, where I live and teach, is very present in my work. He finds that recently his struggles with the representation of reality have led him towards sex and violence. His photomontage What Lies Between Flesh and Blood, pays homage to Abstract
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Expressionist Mark Rothko in its use of colour and technique. The artist collected thousands of existing images of flesh and blood and rearranged them into a colourful geometric image. He uses skin and blood as symbols to represent sex and violence, highlighting his take on the on-going struggle between tradition and modernity in South Asia. The key to appreciating the piece is looking at both the beauty of it and the shock of the source of the imagery. Viewers need to approach these pixellated works and back away from some of the newer works when the subject matter of the small images is revealed. Using smaller images to make larger images holds all my interests together and each is greater than the sum of its parts. Contemporary issues can be temporary but the formal artistic questions are always there, such as representation, or the politics of representation. He said he has started to use some pornographic images, pointing to feminism and deeper issues of the place of women in Pakistan, with the desire to prompt discussion and address stereotypes.

Language Series

The details

Rashid Rana at his Solo Exhibition Perpetual Paradox at the Musee Guimet, Paris, 2010.

Yellow Flowers, Inkjet UV Print on Aluminium

The Fridge-1, Inkjet UV Print on Aluminium

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Photos: Gandhara-art

ART LANDS

T H E

P H I L I P P I N E S

Quinta, Interplay. Galerie Sogan & Art.

Exile and Inspiration

Text by Gladys Teo
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With their dynamism and creativity, the nations artists defy categorisation.

Lydia Velasco, As Morning Beckons. 36 x 36 in, Oil on canvas 2011. GJ Asian Art.

Anthony Palomo, Group musicians. Sunjin Galleries.

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ART LANDS The Philippines

he Philippine Art Trek ventures into its fifth installment this November and it has become more than just a celebration the nations artists. With avant-garde icon David Medalla as the centerpiece, the event has morphed into a dialogue about themes and strategies in Filipino art. But with their dynamism and creativity, the nations artists defy categorisation. In the 1970s and 80s, Filipino artists responded to politics and the revolutionary ferment of the national democratic struggle, and contemporary Filipino artists have continued to utilise tools about social commentary in their practice. They have concentrated on figurative, layered works instead of abstract expressionism. Filipino artists like to fill up every inch of the canvas, the works are dense and there are many stories to tell, quips Jenny Tang, gallerist at GJ Asian Art that specialises in Philippine Art. And they usually feature children! Maybe its the innocence that captivates the artists as a contrast to the political and economic hardship and anger that they have experienced.

visual language of their personal narrative. Filipinos make up one of the worlds largest population of overseas workers in major capitals, minor towns, and remote villages. Palomos depictions of them are both realistic and allegorical, electing to showcase the artistic and musical talent of his countrymen instead of portraying them as call centre agents or enslaved whitecollar workers. The characters eyes are often filled with sorrow, homesickness and weariness, yet the pulsating resilience and determination to obtain a better future overseas comes through in the canvas. The Filipino diaspora is looked at in different ways. Artesan Gallerys Pacific Diptych opens a

Dreams of a diaspora
Anthony Palomo, represented by Sunjin Galleries in Singapore, is concerned with isolation and weariness in an urban environment. Palomos trademark paintings are his sombre, melancholic representations of Filipino foreign workers imbued with a palette of sunset hues. These make up the
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Dominic Rubio, The Malabar Mosque. 30x24 in, Oil on canvas 2011. GJ Asian Art.

AtMaculangan, Equinox. Oil and bees wax on canvas 104 x 152.5cm, 2011. TAKSU Singapore

figurative wormhole between two friends, Miel and Tence Ruiz, who are parted by geography but whose migratory identities have a common colonial past and homeland. GJ Asian Art presents a joint exhibition of two exclusive artists, Lydia Velasco and Dominic Rubio, both responding to their visits to various parts of Asia.

Filipino artists like to fill up every inch of the canvas, the works are dense and there are many stories to tell, - Jenny Tang
While Filipino artists are known internationally for striking social chords, Jenny observes that decorative art still dominates much of the local buying market. The edgy, controversial pieces are getting into auction houses, but if you walk around Manila, you will see that many of the galleries still feature decorative, aesthetic pieces. First-time Art Trek exhibitor Galerie Sogan zeroes in on the works of a group of Filipino artists called Quinta, who produce art that borders on the decorative but still continues to appeal to the Filipino public. Jenny explains that both the decorative and collaborative inclinations will move with the Filipino art market. In the Philippines, people buy art for keepsake. They want to hang works on their walls. This is a country that honours art and its own
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Landscapes in transition
Valentine Willie Fine Art presents Geraldine Javiers concluding exhibition of a 2011 trilogy of exhibitions featuring nature as a theme. Javier imagines and creates a museum of natural history with paintings, objects and installations. She likens displaying and filling the space with dead specimens and dressing them up to make them more alive to a deeper layer of emptying out and remembering. Her works evoke a sense of something that is no longer present, establishing a connection with places and objects that have been deleted but still present in peoples memories.

Fusion by Rene Robles & Jinggoy Buensuceso (06). Wall sculptures made of metal and canvas and handpainted. Momentous Arts.

Pardo De Leon, Related Stories.Oil on canvas, 122 x 285cm, 2010. TAKSU Singapore

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ART LANDS The Philippines

Filipino artists are not lost in a maze of hierarchy dictated by the market.
artists, the collective appreciation for beauty stems from the government to the people. Art-buying has always been patriotic. At the Manila Art Fair, almost all the participating 50 plus galleries showcased Filipino art! In such a locally driven atmosphere, artists exchange ideas amongst themselves, influence one another. There is hardly a re-sale market and this is why you dont see much of a presence of Filipino art in auction houses.

Creative revolutions
Noberto Roldan, contemporary artist and founder of Green Papaya Art Projects promoting independent art in Manila, held jobs in advertising and graphic design before finding his true calling in art. The balance between market conditions and art-making is fine though, as Roldan describes the replacement of seminal independent spaces in Manila such as Surrounded By Water, Big Sky Mind and Future Prospects a few years ago by bigger commercial galleries along Makati Citys Pasong Tamo Avenue, an old industrial district fast becoming the countrys premier art destination. The gallery system has taken over the initiative of vigorously promoting Philippine contemporary art, its quite difficult to detach this develop-

ment from commercial intent. This scenario heightens the fact that today, the role of the market, its support institutions and collector base is being acknowledged as crucial to artistic practice and the future of Philippine contemporary art. Serial Killers: Welcome to the Club is a long-standing collaboration between TAKSU and Green Papaya Art Projects which comes at the heels of an independent platform banked on a premise that Filipino artists are not lost in a maze of hierarchy dictated by the market, but whose works maintain that artist-driven forces still make up the core of art-making. The exhibition is a response to parallel notions of seriality, non-seriality and counter-seriality, where seriality is a postmodern aesthetic by artists attempting to find resonance in a seemingly endless body of work. The Philippine Art Trek has showcased the works of more than 150 Filipino artists in Singapore since 2007, helping to strengthen the cultural interaction and friendship between the two countries. It has been able to do this through the support of the Embassys partners, including, this year, the Lee Foundation, Credit Suisse, Keppel Corporation, Bank of Singapore, Fairmont Hotels and Resorts, and Airphil Express. Further information about Art Trek V may be found on the Embassys website, www.philippine-embassy.org.sg.
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STORY

a lecture of rediscovery
By Daniela Beltrani

ANTIGONE:

Daniela Beltrani ceremoniously pours water from a Grecian jug during her lecture on the Greek classic Antigone.

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The area of the stage prepared for the audience.

arlier this year, Singaporean artist Zack Razak invited me to present a lecture for a pilot series he curated named The Lecher of Art that was hosted by the Substation, Singapore. Six artists were invited to present a lecture on a specific theme every month, from April to October, but with an unconventional approach which challenged the conservative rapport between lecturer and audience. Ultimately, the series was aimed at proposing new ways of conducting lectures that create a more experiential dialogue with the audience. Other lecturers included Isabelle Desjeux, Rubin Hashim, Siti Salilah Omar, Bani Haykal and Debbie Ding, with themes ranging from failure to exam sitting to walking. Given my humanistic education, Zack asked me to present classical studies. Professing a preference for the ancient Greek culture over the Latin one, I proposed to lecture on one of Sophocles best known tragedies, Antigone, highlighting the theme of the struggle between the individual and the State.

Rather than prepare a talk on Antigone, I delved into an inner exploration of Antigone herself. For days I read and re-read the play, and meditated on it until I not only literally comprehended the words with my mind, but also felt them with my soul. Only then did I have the material for the lecture. On the evening of 8 September, I greeted the audience individually and guided each member to a section of the stage under a flood of bright lights. The area was cornered by an installation of eight towers made up of parking coupons, reminiscent of the ubiquitous towers of Singapores HDB flats. It was meant to urge the audience to relinquish the metaphysical space of comfort and allow new possibilities to materialise. Access to the conventional and more comfortable seating area had been blocked by red and white construction tape. I commenced the lecture with a short yet indispensable presentation of the play, walking and talking to one member of the audience along an imaginary peripatos, demarcated by masking tape on the floor. Antigone, the
27

STORY Antigone: a lecture of rediscovery

The audiences comfortable seating blocked by red and white construction tape.

daughter of Oedipus, finds herself having to break the law of her uncle Creon, the king of Thebes, who forbade the burial of her brother Polynices. He decreed the death penalty for the transgressor. Her seemingly defiant act is in fact respectful of a divine law, which she considers to be above that of mans. To this end, Creon due to his hubris meets divine retribution in the desolate personal landscape he is left in, after his son and wife committed suicide. I chose to read 14 significant passages from the play. After each reading, I proceeded to hole-punch singled-out passages of the text and to collect the round discarded parts in a bowl. After this repetitious action, I then performed the actions that were relevant to the text. Water was poured from a Grecian style jug at decreasing height, a golden thread was stretched, measured and cut whilst two mirrors reflected the image either side
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of head; a tall and robust member of the audience was invited to lie down and place all of his weight upon me; I was dragged by the power of my counterparts when I alone played a tug of war against four members of the audience; lemon juice was squeezed out and then passed from my mouth to that of one member of the audience and then back to me; a pencil was sharpened incessantly until it almost disintegrated; the audience was invited to colour the lenses of homemade glasses, and to wear them and decide the colour of my dress. The classical marathon ended with me showering the audience with cut-outs from parking coupons that I had collected over the previous months. The positive response of the audience at least showed that the method of lecturing, which relied upon artistic empathy, had been an engaging educational experiment.

Photos by Daniela Beltrani and Ella Love

Play for Time

by Anthony Palomo

24th November 6th December 2011

Social Creatives Museum @ Millenia Walk, 9 Raffles Boulevard #02-55

A member of the historic Salingpusa art group, Anthony Palomo is concerned with easel painting as a mode of social realist commentary. His works characterized by the representation of negative social emotions such as isolation and weariness in a highly urban environment. Palomos trademark paintings are his somber, melancholic representations of Filipino foreign workers imbued with a color palette of sunset hues, providing a strong visual chronicle of personal narratives.
Sunjin Galleries (S) Pte Ltd, 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115. Tel: 67382317. www.sunjingalleries.com.sg | blog: www.sunjingalleries.blogspot.com

GLIMPSE

Breaking the Mould

Text by Remo Notarianni

Tea Table 2 (2 drawers in front)

KOREAN ARTIST LEE SE YONGS CERAMIC SNAPSHOTS ELEGANTLY COMBINE OPPOSITES. WITH AN ALMOST PHOTOGRAPHIC REALISM, LEES MARRIAGE OF WORLDS BLURS THE LINE BETWEEN THE MODERN AND THE TRADITIONAL, THE REAL AND THE SURREAL, THE PERFECT AND THE IMPERFECT.

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Man with a cup, 45 x 50 x 108 cm

I like all the little things happening in my daily life and the common things you see everywhere give me great inspiration. In other words, all those everyday beings like little birds, cars, and even bugs are some of the most important sources of inspiration of my work.
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GLIMPSE Breaking the Mould

All of my two or three dimensional works include more than two types of figurative elements. This co-existence emphasises the messages underlying my artwork. Our world is separated based on the standards of our society. We always think that we should eliminate negative things. However, the coexistence of both good and bad things actually makes our world what it is. Bugs, snakes and crocodiles are all our neighbours and live with butterflies and deer. We often use the latter to define beauty. Our world is separated based on the standards of our society. We always think that we should eliminate negative things. However, the coexistence of both good and bad things actually makes our world what it is. Bugs, snakes and crocodiles are all our neighbours and live with butterflies and deer. We often use the latter to define beauty.
Blue Painting 1/4, 72 x 53 cm

Untitled 5 & 6, each 28 x 35 cm

Series of Swimming Pants 5, 28 x 35 cm

Untitled 1 & 2, each 28 x 35 cm

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Series of a woman with a bag 1/2, 70 x 120 cm

The rich, the poor, saints, and even swindlers make up our world. Its a world where good and evil, the past and present, war and peace, the natural and artificial co-exist. I love the tension and energy derived from all these antagonistic relationships. What I am always trying to convey through my artwork is based on a concept of coexistence.
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GLIMPSE Breaking the Mould

Woman holding a bottle, 45 x 50 x 110 cm

There might not be many differences between each other. But I think other forms of art have started to mimic the nature of a certain object while ceramics originated from a pure form of abstractness without imitating other things. However, I do not limit my messages to ceramics and I am planning to work with metals and wood next year.
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My works are based on tradition. However, the materials and overall methods I use for making ceramics are quite different from the traditional ways especially in terms of the forms and the underlying messages. This is the same when making other works as well.
Colorful teapot sets for 5 persons

I spent my childhood in a rural area and have always felt comfortable with the natural world. After moving to the outskirts of Seoul in my late teens, I observed some peoples lives which almost seem to be easily mixed up with each other but never get to blend into the crowd of Seoul. By then, I also had some feelings of being somewhat different from other people in this city. So the fact that I had friends from both rich areas full of luxurious houses and poor areas, where all the houses were hardly standing, helped me understand the importance of coexistence.

Couple, woman (h) 60 cm man (h) 77 cm

Living in Ceramics runs from 1 10 November at 2 Mistri Road, #01-02 Lumeire, Singapore 079624. South Korean ceramist Lee Se Yong is represented by Singapores Sunjin Galleries. Contact: +65 6738 2317. Email: sales@sunjingalleries.com.sg

Lee Se Yong has taken ceramics into realms that are critically reflective of the environments they adorn. Lee Se Yong trained for 14 years and currently researching at the Korean Institute of Ceramic Engineering and Technology, Lee boasts 16 solo exhibitions in Korea and has participated in a large number group exhibitions internationally since 2007.

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PERSPECTIVES

Maity Ethos III, Untitled

MODERN MASTERS
By JohnyML Curator & Art Critic New Delhi, September 2011
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THE ETHOS OF

B. Prabha, Untitled. 147cm x 119cm acrylic on canvas.

odernism resides in an interesting place between the traditional and the contemporary. It discards the norms of classical academicism and romanticism and at the same time seems authoritarian before contemporary art and aesthetics. Despite its critique of the past, modernism also produces its own grand narratives that are politically binding and romantically free. Although these factors decided the theoretical existence of modernism within the discourse of art, each artist who evolved during its period highlighted a sort of romanticism that primarily upheld humanitarian values. Ethos VI showcases ten modern artists whose art and lives are inextricably bound. They qualify as modern contemporary artists chiefly because, taking the temporality of existence as a parameter

they are modern in the aesthetical formal values that link them to the tradition of such masters. In addition, they are contemporary because the majority live in the present moment enjoying the fruits of the new socio-cultural, politico-economic and technological realities, whilst simultaneously critiquing the darker sides of these entities with humanitarian intensity and vehemence. In keeping with the true spirit of modernism and modern masters, Ethos VI brings forth a wonderful mixture of figurative and abstract works. For the modern masters, abstraction was not about creating a pictorial plane with colours and rhythmic lines and brush strokes. On the contrary, for them it was a way to reach to the core of things. Through the realms of the abstract, they were looking at the essential
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PERSPECTIVES The

Ethos of Modern Masters

philosophy of the world, which cannot be translated into words or theories. Arpana Caur is one of the modern masters who have stepped out of the comfort zone of romanticism to delve deeper into humanitarian values. Her emblematic women stand for cosmic women; they negotiate the times of human beings and ethereal beings. They are serene and stand at the threshold of life and beyond. The spirituality that Arpana celebrates in her works could come from her deep studies of world religions including Sikhism but it is the image of the women in her works that represents the subtle radicalism that the artist holds in her mind. Although Arpana does not claim to be a radical feminist, as a woman, she finds the image of womankind to be as strong and serene as the image of Guru Nanak and weaves time and philosophy into her paintings. Vibrant colours and scintillating brush strokes together with a rhythm of repetition create the immense and expansive landscapes of Paramjit Singh. A chronicler of dreamy lands, Paramjits creations can be seen as sublime landscapes that not only evolve in the artists mind but also lie hidden in our own surroundings. The artists eyes see the surroundings differently. In the same way that Turner viewed British landscapes almost two centuries back, Paramjit Singh sees the Indian landscapes in their full glory and power.
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The artists eyes see the surroundings differently.

Jayashree Chakaravarty also envisions a different kind of landscape in multifarious ways. She has extensively executed large scale works with parchments and canvases where she experiments with not only the two dimensional planes of pictorial landscapes but also the three dimensional effects of the mindscapes perceived in our socio-cultural contexts. These apparently abstract looking landscapes are interspersed with images of human beings rendered in random strokes. Jayashree Chakravarty incorporates symbols and emblem-like figures in her works in order to create very secretive hieroglyphics encouraging the viewer to approach the work with both curiosity and interest. Paresh Maity is an artist who easily crosses the boundaries created by the categorizing tendencies of art history and criticism. Working on paper, canvas, walls and any surface conducive to painting, he is also a skilled sculptor and has worked on numerous site specific installations. His canvases have a dominant image of a might man and woman and their multiplying incarnations. The deep reds and black strokes together with the yellow intermixtures give the canvases a very special tone of Indian-ness. They at once connote the typical Indian landscapes and

Sohan Qadri, Untitled. 140cm x 100cm ink plus vegetable dyes on serrated paper

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PERSPECTIVES The

Ethos of Modern Masters

S. H. Raza, Untitled. 100cm x 51cm acrylic on canvas

the spiritual landscape of the country, which is hailed by innumerable travellers, writers, photographers, filmmakers and others. A rhythmic boldness of Shiva is one quality that one can be perceived in the works of Paresh Maity. Veteran artist Ram Kumar has witnessed the evolvement of an Indian art scene, from a scene with strong western influences to one that is quite indigenous and rooted. His works executed over a vast period of over half a century stand testament to this evolution of Indian modern art. Ram Kumar has always shown the dexterity to go between starkly abstract and strikingly figurative works. In his
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early figurative works, he captured the existential man and the people around him and his milieu has changed from urban landscapes to Indian Legendary Indian artist M.F.Husain is famous for his depiction of gods and goddesses. These gods and goddesses include stars like Sachin Tendulkar and Madhuri Dixit. For Husain, creating a pantheon of artistic characters was more important than depicting gods and goddesses true to their literal descriptions. Husains gods and goddesses are distinct because they are playful and they are more human than the fire spitting gods in Indian mythology. One could even say that after Raja Ravi Varma, it is in Husain that we see the extraordinary meeting between ordinary human beings and gods. B.Prabha is hailed as the chronicler of the life of Maharashtra. Although there have been artists like Baburao Painter, Paslikar and Mahatre who had depicted the Marathi life extensively both in pictorial and sculptural mediums, it was in B.Prabha we see the stylistic fruition of such a visual chronicling. B.Prabha belongs to the typical Indian school of painting, derivative of the Bengal

School and the other regional schools including the Bombay School, which later spread all over the northern part of India. B.Prabhas works resonate with depictions and energy similar to that found in the works of Amrita Sher Gil, and is one artist who consistently treated women subjects with much care, affection, affinity and sensitivity. In Akkitham Narayanan we see the meeting point of the abstract thinking of the east and the west where he carries the very essential tantric and geometrical forms. His abstractions are pure geometrical mandalas reverberating with energy. Akkitham works like a shaman who constantly creates the patterns in order to evoke some unknown powers. His paintings have a certain quality which attracts the viewer to its layers within. In the subdued reds, blacks, greys and blues, Akkitham builds a world that lies beyond our perception. When will you come, mother and what will you bring this asking of a devotee, a son, a lover, evoked through his paintings have made S.H.Raza one of the most prominent painters in the modern contemporary art scene not only in India but all over the world. His Bindu series is a much sought

M. F. Husain, Ganesha. 58cm x 74cm oil on canvas.

after series by any collector. Raza is a dreamer, thinker and aesthete when it comes to his paintings. A geometrical rhythm leads Raza to his works and these works force the viewer to focus on the inner vibrations and throbbing of life. Sohan Qadri departed recently but left behind a solid body of works for future generations to contemplate on. Working mostly on serrated paper with ink and vegetable dyes, his works are not specifically organic in form. Yet their vertical and horizontal orientations with suggestive strokes and minute symbolism contain a special visual dynamic, akin to the dynamism of kinetic and organic forms generally seen in our natural world.

ETHOS VI by Indigo Blue Art 12.10.11 30.11.11 www.indigoblueart.com

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PORTFOLIO: Market Voices

The relaxed rise of the flip-flop fair

Text: Camilla Hewitson and Remo Notarianni

Affordable Art Fair Singapore 2010

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Photos: AAF

Fair Director Camilla Hewitson

he Affordable Art Fair was founded in 1999 in the UK by artist William Ramsay to offer people the opportunity to buy contemporary art and show them that you dont need to be a millionaire with a Doctorate in Fine Art to buy it. The Fair is now in cities all over the world, including Amsterdam, Brussels, Bristol, New York, Los Angeles, Milan and Melbourne. In 2010, Singapore played host to the first Asian edition of the fair. TPAG talked to Fair Director Camilla Hewitson about the concepts, ideas and expansion plans of AAF. TPAG: What is the aim of AAF? At each AAF event, approximately 80 galleries exhibit contemporary paintings, drawings, sculptures, photography and original prints all for sale under a set price level (e.g.

in the UK art is priced between 50 and 3,000, in mainland Europe up to 5,000 and theres a $5,000 cap in the US). Affordable Art Fair Singapore has a cap of SG$10,000 with 75 percent of the artwork priced below SG$7500. Each fair benefits from a specially designed programme of events including free lectures, guided tours, and hands on printmaking workshops. The simple aim of AAF is to provide a platform to reach a potential new audience of buyers and offer emerging artists the opportunity to be showcased. For example, Anthony Micallef, whose work was on sale at the first Affordable Art Fair in 1999, has gone on to command thousands of pounds for some works and now counts Brad Pitt, Cristina Aguilera and Jude Law amongst his collectors.
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PORTFOLIO: Market Voices

TPAG: How has AAF attracted gallery owners globally? Gallery owners enjoy the relaxed atmosphere of all the Fairs as well as the chance to meet a new collector base. The Affordable Art Fairs around the world can act as catalysts that open up a contemporary art market to a new audience with 50 percent of the visitors to any Fair being a new buyer. This is Affordable Art Fairs unique positioning as an art fair and therefore attracts a loyal following of gallery owners. It is important to mention though that the Fairs succeed by tailoring the concept to their local market, along with dedicated PR campaigns. TPAG: How has AAF resonated in Singapore and how has it fitted into the local market? In 2010 at the first Affordable Art Fair Singapore, we expected around 8,000 visitors and in fact 9,500 people came to enjoy the wide ranging galleries and workshops. Singapore has exceeded both expectations in terms of visitor numbers as well as sales which reached SG $1.75 million after a projected total of $1.2 million. People who visited the fair have often labeled it the flip-flop fair which reflects the relaxed atmosphere, friendly and enjoyable experience people encountered.
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TPAG: How has the success of the first fair determined the outcome of the second fair? Following the success of the first fair, the second edition has grown from 50 galleries to more than 75 galleries exhibiting in 2011. These galleries come from all over the world from places such as Pakistan, Spain, USA, Japan, Korea but the lions share comes from Singapore itself including returning exhibitors REDSEA Gallery, Utterly Art and Give Art alongside new exhibitors such as Art Forum, Collectors Contemporary and ReDot Gallery. The Talks Programme organised by Education Partner, Sothebys Institute of Art also attracted many participants and a dedicated seminar room is located in Paddock 3 this year where free talks will take place throughout the public days (18-20 November). AAF Singapore 2011 is delighted to also be working with Objectifs to include a feature on Photography, which is new to the Fair this year. TPAG: What is the difference in line up this year? The galleries exhibiting have increased from 50 to 77. This includes some 36 galleries from Singapore itself. The committee was thrilled this year to receive around 120 applica-

AAF resonates with Singapores belief that more opportunities to see and discuss contemporary art will encourage a strong and flourishing art scene. Camilla Hewitson

tions for this second edition ranging from all different types of contemporary art. This is a great reflection on the type of visitors that came to the Affordable Art Fair and the way in which Singapore really got behind the Fair and supported it. TPAG: How is AAF tuned into the emergence of Singapore as an art hub? AAF resonates with Singapores belief that more opportunities to see and discuss contemporary art will encourage a strong and flourishing art scene. The Fair comes once a year for four days but the marketing and PR visibility that is generated compliments the continuous work galleries, museums, artists and auction houses are doing every day of the year to continually raise the bar for the contemporary art scene locally. TPAG: Does AAF plan to be host-

ed in other Asian cities? Watch this space! Absolutely we are looking to expand further into Asia but have not settled on anywhere just yet. Finding the right city, the right team and the right partners is key to any Affordable Art Fair succeeding and for this reason we work to get all the ingredients right before launching a new initiative. TPAG: What significant role can AAF play in the blossoming art world of SE Asia? The Affordable Art Fair can act as a safe place to learn more about art and buy art. Many people who have not bought art before or bought a lot of it come to the Fair confused about what they like, who they should buy from and what they should be buying. It also promotes interaction with the experts- the dealers who work with the artists and can assist in answering questions about their work.
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PORTFOLIO: Auctions

Wang Yidong, Wedding night

Wu Guanzhong, Scenery of the Lijiang River

Zeng Fanzhi, Mask Serie 1998, No 5

Zao Wou Ki, 10.1.68

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Cautious optimism drives autumn sales at Sothebys

By Remo Notarianni

ith HK$ 3.21 billion (US $420 m) of wine, antiques, fine art, jewellery and watches going under the hammer, Sothebys October auction in Hong Kong was a testament to the buying power of the region. The auctions total exceeded last autumns HK$3 billion but fell short of the HK$ 3.5 billion that the house raked in during the spring sales in April. With a major billing of artists, it reaffirmed Hong Kongs standing as the worlds third-most important auction hub after New York and London. Zhang Xiaogangs Bloodline: Big Family No. 1 brought the second highest price for an artist to auction and represents the auction record for a work of this series, said Evelyn Lin, Sothebys Head of Contemporary Asian Art. Other top prices were paid for a classic example of Zeng Fanzhi: Mask Series 1998 No. 5, and for an early gem of contemporary Chinese art, Fang Lijuns Series 2, No. 11, dating from 1991-92. Four works in the auction sold for more than HK$10 million / US$1.28 million; participation was strongly international at all levels of the market. On October 3, as the gavel went down, bells tolled on woeful markets and Hong Kongs Hang Seng Index plunged 4.4 points. The tailspin may

have been reflected in the figures with 27 percent of Asian contemporary works and 22.6 percent of the 20th century Chinese artwork failing to find bids. Contemporary art may have sold well enough to contrast with the sombre news reports but devils of market uncertainty were in the details. The contemporary Chinese art collection of Belgian collector Guy Ullens reached sales of US$16,976,025 in the October auction, but that fell considerably short of the April sales, which made a record US$54.8 million. Many hugely touted blue chip artists failed to sell. Other top lots included an ink painting by modern artist Zhang Daqian, for HK$46.6 million and 10.1.68, by abstract painter Zao Wou-Ki, which sold for HK$69 million and while European collectors had a healthy presence at the auction, but mainland Chinese buyers continue to remain a major buying force on the market. The disappointments, as narrow as the shortfalls may appear, came from cautious decision-making more than economic belt-tightening. With market fears dampening spirits, buyers are hedging safer bets and following the October auction, a more discerning buyer could be at future auctions.
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Photos by Sothebys Hong Kong

SPACE

Aporia (2010), Jung Lee

London warms to
contemporary art at
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FRIEZE
By RUDBH ABBASS

13 - 16 October 2011

You made Me Love You (2010 ), Tracy Emin

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SPACE

The Credit Card Destroying Machine (2011), Michael Landy

ondons reputation for creativity is manifested in the most inimitable and anticipated contemporary arts introspective of the year. Frieze week, as it known to art enthusiasts, draws a veritable whos who of the art world to the capital. Now in its ninth year, the Frieze Fair was conceived by two Oxford university graduates Amanda Sharp and Matthew Slotover. The fair followed the launch of their international arts journal also titled Frieze - a year earlier. Unlike its counterpart, the Venice Biennale, Freize is an annual event. Sharp distinguishes it as the only leading fair that focuses exclusively on contemporary art. Although intended as a trade fair, its reputation as the citys premier art exposition, it attracts spectators and investors alike. International Galleries compete for one of the industrys most coveted spaces to showcase the best of what he contemporary art world has to offer.

This year over 170 galleries from 33 territories (including the emerging markets of South America and Asia) showcased the works of over 1000 artists. Staged in Regents Park, the fair comprises of talks, customised films, a Sculpture park in the English gardens as well as a specially commissioned collective of artists for Frieze projects. Frieze Frame is a section within the fair dedicated to solo artist presentations. Established in 2009, it enables young global galleries that have been in existence for less than six years, with a platform to showcase their emerging artists next to established heavyweights such a Tracy Emin and Chuck Close. On entering the fair one of the first works to welcome the spectator is of Scandinavian duo Elmgreen & Dragset at the Galleri Nicolai Wallner. A composition of Wood, paint, door handle, hinges and metal

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Untitled Clown Series #01 (2004) , Cindy Sherman

Self Portrait of Me Now in Mask (2011), Gillian Wearing

In an age where plastic surgery is commonplace, there is honesty to the piece (Self Portrait of Me Now in Mask) that reminds us of our obsession for physical perfection.
numbers titled 69. The installation is a disturbing depiction of abandonment showing an infant asleep and cocooned in a carry-cot on a door mat outside what appears to be a suburban door numbered 69. Perhaps a foundling... The chilling portrayal of vulnerability is unsettling, as is the reality of baby abandonment. The piece is just one of the duos series which themes of isolation and identity through various male ages with the use of doors. Walking on to the Lisson Gallery one of Anish Kapoors concave biomorphic reflecting sculptures draws the spectator in by distorting the self-image alluding to a hall of mir-

rors. Kapoors signature polished stainless steel structures challenge dimensions of reality, blurring and drowning the sight of the self into darkness. Highlights of this years shows included conceptual artists Gillian Wearing and Cindy Sherman. Both artists consistently explore themes of challenging facades, Sherman, who is known for her self-portraits confronting gender roles was showcased by the Spruth Magers gallery with Untitled #416 from the clown series. The pensive entertainer is dressed in detail and seen meditating deep in thought whilst emanating a deep sadness from the soul of her eyes. While Sherman stylistically chooses to communicate with the mise en scne, at the Maureen Paley gallery, Wearings work takes a more literal approach by using authentic masks. In Portrait of self in a mask, the

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SPACE

1997 Turner prize winner uses her own face cast in a pose echoing the Mona Lisa stare. In an age where plastic surgery is common place, there is an honesty to the piece that reminds us of our obsession and pursuit for physical perfection. For a moment, it seems, that Wearing is indeed perfection, until the viewer engages with her eyes which daringly reveal the truth. Also at the Maureen Paley gallery was Wolfgang Tillmanns 190 from the Freischwimmer series which provided an entranced haunting fluid beauty with its fluid motion. Another notable piece was Beleaguered light by David Thorpe a layered composition of a chevronlike pattern of light obscuring into the background, as a growth of menacing dark twigs distance the spectator from the brightness and hope. At Seouls One And J. Gallery Jung Lees sculpture Aporia consisting of a web of neon signs representing entangled emotions were illuminated to face two juxtaposed prints. The prints depict the pained voice of a lovers thoughts illuminated in the devastated setting of barren wasteland. A name to watch out for at the event was emerging artist Aisha Khalid, fresh from her recent Peoples Choice accolade at the V&A Jameel Prize for Kashmiri shawl. Londons Corvi-Mora presented a series of three works in her signature style combining the heritage of Islamic geometrical shapes with the use of black veils. Visible invis-

Visible Invisible (2011), Aisha Khalid

ible delves into the role of feminine identity and it link to the foundation of religion. However not all works managed to impress. Crush at the Ramiken Crucible gallery, a life-size cast of artist Andra Ursutas own body made our of rubber and covered with splashes of artificial semen was more interested in the need to shock than provoke thought. The Credit Card Eating Machine by Michael Landy relied on its gimmicked name to draw in the crowds with its surreal disorder perhaps in hopes of de-cluttering their finances. The work may have intended as a symbol of our current financially

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Crush (2011), Andre Ursuta

Anish Kapoor, Untitled (2011)

challenged lives but the monstrosity of its structure proved to be nothing short of an eye sore. Proving a bit too simplistic for the aesthetic eye! Having wrapped up for 2011, Frieze have announced next years fair will be bigger offering a new section dedicated to Masters offering a unique contemporary outlook on historical art. Also on the cards is a move to New York. Between 4th 7th May 2012 the fair will expand to Randalls Island Park in New York to coincide with the States contemporary auction week. With Frieze heading from one financial capital of the world to another begs the question; how is the art world continuing to thrive with such daring momentum in a climate of such economic woes? According to the latest figures released by Artprice, despite the instability of financial markets, collec-

tors are continuing to defy the pessimism prevailing in the economic environment with the level of purchase intentions recorded by the Art Market confidence Index estimated at an approximate 70%. The credit crunch did not appear to dampen the spirits of the estimated 60,000 visitors who were charged an extortionate 27 for entering the Fair. With Deutsche bank sponsoring the Frieze Art Fair for the eighth consecutive year, the perception of investing in art appears to have stood its course despite the continuing economic instability. In the words of Oscar Wilde: When bankers get together for dinner, they discuss Art. When artists get together for dinner, they discuss money. If Wildes observation is anything to go by, it may be a while yet before the discussion dies out.

53

Photos: RIMA AL-SAFFAR

Visit us at Booth B5 Sunjin Galleries (S) Pte Ltd 43 Jalan Merah Saga #03-62 Work Loft @ Chip Bee Singapore 278115 Tel: 67382317 | w: www.sunjingalleries.com.sg | b: www.sunjingalleries.blogspot.com

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KIM GYUNG MIN

South Korean artist Kim Gyung Min. Her sensitive perception and rich sentiment, reproduces scenes taken from our daily lives and turn them into a joyful sculpture works. As a mother of three children and a wife to a husband, artist Kim finds subject from everyday happenings at figures with an add of her fertile imagination. 2 Mistri Road, #0102 Lumeire. For more information contact 6738 2317 or email to sales@sunjingalleries.com.sg
Sunjin Galleries (S) Pte Ltd 43 Jalan Merah Saga #03-62 Work Loft @ Chip Bee Singapore 278115 Tel: 67382317 | w: www.sunjingalleries.com.sg | b: www.sunjingalleries.blogspot.com

art directories
60 Singapore Galleries 61 Art Auctioneers 62 Museums / Art Services 62 Conservation/ Restoration 62 Art Schools / Artist Studios 64 Hong Kong Galleries 64 Other International Galleries 64 Art Fairs 66 TPAG Art Tours HK 68 TPAG Classifieds

Singapore Galleries
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
Weekdays: Tue - Fri: 10am-7pm Weekend: Sat & Sun 11am-8pm Closed on Monday

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.

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 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

Boons Pottery 91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918 v +65 6836 3978 www.boonspottery.com

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

Daily: 11am-6pm. Closed on Public Holidays

Chan Hampe Galleries @ Tanjong Pagar 27 Kreta Ayer Road, Singapore 088994 v +65 6222 1667 www.chanhampegalleries.com

Weekdays: 10am-6pm. Weekends: 11am-4pm. Closed Wednesday and Public Holidays

60 TPAG | Nov 201 1

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.

Muse The Art Gallery 4 Toh Tuck Links, Unit 01 01 Singapore 596226 v +65 6762 6617 Y enquiries@

musetheartgallery.com Mon - Fri: 8.30am-5.30pm

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: 11am6.30pm Closed on Sunday

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

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

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

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: 11am-7pm

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.

Art Auctioneers
Christies Hong Kong Limited 22/F, Alexandra House, 18 Chater Road, Central, Hong Kong Sothebys Singapore Pte Ltd 1 Cuscaden Road Regent Hotel Singapore, Singapore 249715 Larasati 30 Bideford Road #03-02, Thong Sia Building, Singapore 229922

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

61

art directories 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

Conservation / Restoration

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

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

Florenz 10 Changi South Street 1, Singapore 486788 v (65) 65464133 Y enquiry@florenz.com.sg www.florenz.com.sg
Mon-Thur 8.30am-5.45pm, Fri 8.30am-5.30pm, Sat 8.30am-12.30pm Closed on Sundays

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

Introduction of Company: Florenz was first established in 1986 and was recently re-launched with a showcase exhibition featuring artworks by the current in house team and also past collaborators. Florenz specialises in glass art of all disciplines and processes ranging from traditional stained glass, blown work, kiln forming, sandcarving and engraving. Artworks may be purchased or commissioned for commercial and private settings. Florenz is also an active participant in the Singapore art scene, participating in events such as Art Singapore, Affordable Arts and FLasia.

62 TPAG | Nov 201 1

ma ARTS v +65 8611 5280 Y alfred@ maarts.com.sg

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 Liu Xuanqi Art Studio Goodman Arts Centre, 90 Goodman Road, Block B #0408, Singapore 439053 v +65 9168 7785 Y hillad2006@ gmail.com
Opens daily 9am-6pm

Transportation & Installation of Art Works and other Art related services.

Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B, #0314, Singapore 439053 v +65 9151 3227 Y cice_lin@ yahoo.com
By appointment only

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.

Urich Lau Wai-Yuen Goodman Arts Centre 90 Goodman Road, Block B #04-07, Singapore 439053 v +65 9682 7214 Y urichlwy@gmail.com
By appointment only

63

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 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 Contemporary Istanbul Art Fair 24 27 November 2011 www.contemporaryistanbul.com Art Dubai 21 24 March 2012 www.artdubai.ae

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
64 TPAG | Nov 201 1

TPAG Art Tours: Hong Kong

10

4 5 11 2 78 9 6

12
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.
66 TPAG | Nov 201 1

5 1
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

6 7 8

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

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

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

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.

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

12

3 4

10

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

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

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

Please join us and email to remo@thepocketartsguide.com to sign up the Hong Kong Art Tours.
67

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

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

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.
68 TPAG | Nov 201 1