Art events on the horizon




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Fair thee well

Making an impression

Opening the vault

Spiritual borders

Senseless and the city

Royal family of art

Calm during the storm

Pulau, exposed inside the closet

Pride against prejudice

Not for all the art in China

56 MAP
Art galleries in Singapore


68 ART


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

Dear Readers, The September 2012 issue of The Pocket Arts Guide (TPAG) is bustling with news about fairs and events, and it continues with in-depth, well-nuanced analysis of new work from the kaleidoscope of talent in Singapore and Hong Kong. In its hunt for originality, TPAG never ceases to find new and interesting work in the burgeoning art scenes of Hong Kong and Singapore. This originality is changing the way we look at the whole scene. In the Frame looks at cross-fertilisation as these emerging art hubs create new categories. This includes art fairs that combine antiques with contemporary art. Such combinations appear when an art scene is diversifying as it is flowering. TPAG has always been about diversity and the very term “pocket” is about the wide range of topics covered in our publication. In this issue we look at the fantastic work of artists in the region who appear alongside Royal Academicians in a unique exhibition titled Encounter. In another example of the unique bridging of worlds, these artists from seemingly different worlds find out they have more in common than they thought. Frontiers is about how art can change the way we see the world, and redefine terms such as “disabled”. Words that in many ways limit the way we see the world. As the events get more exciting and interesting, ideas and creative works are forming whole new categories, and TPAG is helping to document this history as it happens. Enjoy the events and the shapes of things to come.

Editor-in-Chief Remo Notarianni Art Director Herman Ho Contributors Daniela Beltrani, Rachel Smith Advertising & Media Partnership 3-Three Consulting Pte Ltd 23 Genting Road #03-01 Chevalier House Singapore 349481 O: +65 67484339 F: +65 68583880 Advertising: Duane Thia +65 9699 9220 Raymond Liow +65 9639 5280 Ivy Loh + 65 9795 4094 Distribution & Circulation: Callie Gay +65 9477 5928 Press Releases: Hong Kong Contact: Sally Lee +852 9095 6316

On The Cover: Expedition #43 — Zhao Renhui (from 'The Glacier Study Group' series)

Remo Notarianni



Inner Nuances 05.09.12 — 26.09.12 Indigo Blue Art Singapore Indigo Blue Art presents two master Indian artists, Sohan Qadri and Narayanan Akkitham, who have expressed a spiritual language through the abstract forms of Tantra and sublimity. Akkitham’s geometry comes from the natural and universal system of platonic forms. The geometry combines to express the power of the universality of pure form through basic lines which intersect to create aesthetics. In the case of Sohan Qadri, the importance of the ‘dot’ as a form, and as a mark on paper, the very act of creating an incision on paper is meditative.

Profiled 07.09.12 — 03.11.12 Galeries Steph Singapore Galerie Steph is proud to present Profiled, photographer Ken GonzalesDay's most recent artistic project. Based in Los Angeles, Gonzales-Day is the Chair of the Art Department and Professor at Scripps College, where he has taught since 1995. GonzalesDay has had numerous solo and group exhibitions internationally, from Los Angeles to New York and Paris. Profiled is an investigation of the depiction of race in sculpture and portrait bust collections.

Fun with Linoleum Block Printing 27.08.12 — 24.09.12 LaSalle College of the Arts Singapore This course provides participants with an overview of relief printing as a form of fine arts. Books in the olden days used this method of printing, where texts are carved on woodblocks, bamboos and turtle shells. Participants will be exposed to positive and negative spatial management in a composition, and shades of colors, lines and textures. Participants will have the opportunity to produce an original limited edition print.

Nothing Else But Love: Sculptures & Painings by P.Gana 12.09.12 — 23.09.12 The Gallery of Gnani Arts Singapore P. Gnana is a distinguished, painter and sculptor in Singapore. His artworks are in the collections of the former President of the Republic of Singapore, of the Singapore Art Museum of the National Heritage Board in Singapore, and of Smt. Harsimrat Kaur Badal (current Member of Parliament for Bathinda, Punjab). Nothing Else But Love showcases a fresh collection of paintings and sculptures by P. Gnana, under a visual language of whimsicallystylised imagery of human figures within the universal concept of nothing else but love.

Nostalgic Memories of Chinatown: Paintings and Calligraphy by Lim Tze Peng 28.08.12 — 28.09.12 Cape of Good Hope Art Gallery Singapore Lim Tze Peng, born in 1921, a Cultural Medallion Award winner, and pioneering artist, has achieved international acclaim through many exhibitions both locally and overseas. Tze Peng is best known for his works in Chinese Calligraphy, Drawings and Paintings of Chinatown and The Singapore River. Singapore of old has endeared itself to Tze Peng as is shown in his Chinatown series of works. These nostalgic memories of our old community and its way of life before urban development is depicted through his own versatile brushstrokesin his paintings.

Ngura Puti ( Bush Homes ) 05.09.12 — 13.10.12 ReDot Fine Art Gallery Singapore The first international exhibition of the works from Mimili Maku Arts, an indigenous owned and directed art centre, located in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia. The whimsical works currently being produced at Mimili Maku Arts continue to attract attention with their traditional imagery, symbols and narrative .This exhibition will showcase superb works by the legendary Milatjari Pumani, her daughters Ngupulya and Betty Pumani, Tuppy Ngintja Goodwin and Kathleen Tjapalyi amongst others.

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The Obits — An Exhibition by Grieves Perspective 24.08.12 — 03.09.12 Chan Hampe Galleries @ Raffles Hotel Singapore Grieves Perspective is an assembly of professional artists, curators, and writers who were molded by the common experience of critical art schools in London and their current residence in Singapore. The exhibition which focuses on the obituary as an art form that has somehow never quite taken hold in Singapore. Through photography, video, installation and prints, this exhibition will explore the sentiment of loss, a restrained expression of grief and imagined local devastation.

First Solo Exhibition of French artist Bernar Venet 26.09.12 — 24.11.12 Art Plural Gallery Singapore Bernar Venet will show new sculptural reliefs from his GRIB series, an extension of the original wooden Indeterminate Lines that were developed between 1979 and 1983. The works included in this show were made from 35mm steel plates torchcut by hand. The technique adds to the unpredictable nature of these ‘scribbles’ and gives these works a rougher character and more accessibility than their predecessors. The scribbling of the GRIB wall pieces logically connects the action of drawing in a random two-dimensional gesticulation and the physicality of a precise three dimensional figure.

Gustaf Nordernskiöld Exhibition 23.08.12 — 29.09.12 Galerie NeC Hong Kong Hong Kong The exhibition consists of new museum collections, post production, the assembly of pre-existing and newly manufactured items and works transformed to new ensembles and scenes. Treasures aims to show the object’s relationship and the impact on each other. The exhibition presents ambivalent ceramic works, virgin archaeological objects of unknown origin that expresses beauty in the making, or in disrepair. With traces of a forgotten civilization with different deals.


Contemporary Calligraphy from the Middle East 20.09.12 — 04.11.12 Sundaram Tagore Galleries Hong Kong Artists including Egyptian Ahmed Moustafa, Iraqi Hassan Massoudy and Tunisian Nja Mahdaoui were among the first to look at writing from an entirely new perspective and reposition calligraphy in the contemporary context. Dr. Moustafa’s research is based on mathematical and scientific foundations that form the origins of Arabic characters, such as the proportional systems that were developed in the 10th century. This exhibition aims to further intercultural dialogue between the Middle East and beyond.

Serenity in the Lost Garden 18.09.12 — 29.09.12 Yinogo Art @ Island East Hong Kong Yinogo Art presents the first solo exhibition in Asia of American artist Jack Massey. Throughout a career that included ten years as a tattoo artist, Massey has worked with a wide range of mediums including oils and acrylics, as well as airbrush and digital. Massey’s work documents late 20th and early 21st century American life and his artworks portray timeless American archetypes: the bar girl, the jazz musician and the “honcho” with a “serenity” that eases the urban loneliness, while recalling the peaceful garden of man’s origins— before he entered his dark and lonely cities.

Buffet Rodin 13.09.12 — 01.10.12 Opera Gallery Hong Kong The exhibition unveils an exquisite collection of works by renowned French masters Bernard Buffet and Auguste Rodin. Auguste Rodin’s innovation liberated the treatment of the form from traditional techniques and paved the way to the development of modern art. The show celebrates Rodin’s most significant works showcasing legendary figures such as "The Age of Bronze", "Eve", "The Shade’’ and "The Thinker" among the 17 pieces on display.

Spices of Life at 7Adam
exhibited in a number of shows across Asia, Europe and the United States. This included a year- long exhibition titled “Red, Hot on the Trail of Color” at the Museum of Cultures in Basel, Switzerland, which ended in 2008 and travelled to The Tropen Museum in Amsterdam for a further year. kumari, who was trained as an interior designer in London in 1976, studied Fine Art at the LASALLE College of Arts in Singapore, and took a Masters in Fine Arts from the Royal Melbourne Institute of Technology in Australia. The recipient of numerous prestigious awards over the years including the United Overseas Bank Painting of the Year Award in 1998, kumari was also the first woman and foreigner to be awarded the Ksatria Seni Award in 2004 by the renowned Museum Rudana in Ubud, Bali. More recently, she was awarded the Sculptor of the Year in Shanghai at the 15th edition of the Shanghai Art Fair. kumari's latest sculpture series, the “Song and Dance” series, a theatrical showcase of the chilli, premiered at the Shanghai Art Fair 2011. This series will be showcased at 7Adam alongside the “Friends” series, a collection which pays tribute to people who have made an impact in the artist’s life. kumari is easily recognized for her iconic chilli and pepper art sculptures at prominent locations in Singapore and around the region. Some of these works can be seen at the National Museum of Singapore, Terminal 3 of Changi Airport and ION Orchard Mall. “Chillies are symbols of new life and untapped energies that arouse and stimulate a multitude of sensations in the viewer. The colour and taste of chilies symbolize positivity, power, fire and passion that I hope to convey to viewers through my sculptures. They exude tremendous power and vitality and bring energy with their presence" said kumari in a recent interview. kumari’s work will be showcased at 7Adam in the month of September.

A marvelous fusion of art and food awaits all who enter the lush green foliage at Singapore’s Adam Park. Go on a sensory journey of culture and cuisine at 7Adam gallery and restaurant. In September, the gallery will be featuring the dynamic sculptor, kumari nahappan, in a solo exhibition. “It was an eye opener for me to attend the Shanghai Art Fair 2011 and I was excited that a Singapore-based talent, kumari, won the Sculptor of the Year at such a global platform. We are extremely pleased to have kumari showcase her award winning artworks at 7Adam gallery in Singapore. Her latest chilli sculptures are fun and creative, and are excellent portrayals of food in art!” Shirley Tan, Director of 7Adam gallery restaurant, Singapore. kumari is a conceptual artist based in Singapore who has built a remarkable artistic practice over 20 years. She has



Fair thee well
— Text: Remo Notarianni

Check in to spectacular hotel art fairs and events that are making Singapore and Hong Kong the venues for exciting new selections. TPAG takes a looks at groundbreaking events with unique categories for collectors.
The classical and the contemporary

Fine Art Asia is now into its seventh year. It stands out by connecting the classical world of antiques and jewellery with contemporary, cutting edge art. Fine Art Asia 2012 will be held at the Hong Kong Convention and Exhibition Centre from Thursday 4th to Sunday 7th October 2012. This year’s event conjures up a timeless showcase of antiques, watches and jewellery that refuse to collect the dust of the centuries that have given them value; and the works continue to shimmer, amidst the glistening parade of contemporary collections. The fair presents the best of galleries from both Asia and the West. Over 20,000 visitors are expected to attend from across Asia and around the world. as one of the only major international fine art fairs in Asia. The diversity reflects the rising influence and interest in the Asian art market, within the halls of the conference centre 100 carefullyselected local and international galleries display the finest in Asian and International Antiques, Drawings and Prints, Maps and Books, Scholars’ Objects, Furniture, Fine Jewellery, Clocks and Watches, Antique Silver, Decorative Art, Porcelain and Ceramics, Textiles and Tapestries, as well as Modern and Contemporary Artworks including Paintings, Sculptures and Furniture, from over 100 galleries.

Photo: Fine Art Asia

Andy Hei is the Founder and Director of the Fine Art Asia and draws on decades of experience in professional dealing, appraising and restoring classical Chinese furniture. He is a second generation member of the prominent H.L. Hei family, who have been dealing in huanghuali and zitan furniture from the Ming and Qing dynasties for over half a century.
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Photo: Fine Art Asia



Photo:Worlds Apart Fair

Flash Memory 9 — Unmask shown by HT Gallery in room 1521

Day Goddess — Astrid Dahl shown by Astrid Dahl Studio Gallery in room 120

Asia’s global art fair
Worlds Apart Fair, a first-of-its-kind in Singapore, promises to bring globally significant artists from around the world to the Lion City – and make it up close and personal for first time buyers and veteran collectors. The fair will run from 25 –27 January 2013. While so many art events stress affordability or call themselves catalysts for regional talent, its debut in Singapore could herald a new era in which the city becomes not only a hub of nurturing Singaporean and Asian artists, but also a place with the cultural gravity to lure international talent. “Worlds Apart Fair is not limited to only exhibitions of paintings,” said organiser Rosalind Lim, of A Kiss Inc.“Our exhibitors come from diverse cultural and artistic backgrounds – offering a broad spectrum of contemporary art from paintings to sculpture, and prints to photography.” The fair showcases an immense range of art works by emerging artists – from paintings to prints and photography – in a hotel suite setting that uniquely puts globally resonant artwork from Africa, Asia, Australia, the Americas and Europe in a homely setting. The fair will be carefully curated to showcase sculptures, visual arts, video arts and installation pieces. The organiser has reserved suites on the 23rd, 24th and 25th floor of the Conrad Centennial Hotel for works to be displayed in a luxury, artistically inspiring ambience. Worlds Apart interweaves emerging artists from around the world into Singapore’s vibrant new art scene. “An emerging artist is essentially a new artist or an unknown artist – someone who's in the early stage of their career, who has caught the eye of an art critic and/or gallery, but has yet to establish a solid reputation as an artist amongst art critics, art buyers, and art galleries.”

Rooms with a view
The Asia Contemporary Art Show opens at the Grand Hyatt Hong Kong on October 4th and runs until the7th. The show also offers a special event with a prize for young Hong Kong artists. The Hong Kong Young Artist 2012 honours young talent in the territory with ten shortlisted works put on display in the Grand Hyatt Hong Kong for three weeks and the winner receives HK$50,000. The prize, to be juried by a panel of art experts and international artists, sets the fair apart from other fairs. Founded by gallery owner Mark Saunderson and art lover Douwe Cramer, The Asia Contemporary Art Show is attracting emerging artists and galleries from the entire region to Hong Kong; and with its focus to bring diversity and a choice of galleries and talent to Hong Kong, it looks set to create an environment where people will look, buy, sell and talk about art. “Importantly, the Asia Contemporary Art Show will also play host to the largest number of Hong Kong galleries of any art fair,” said co-founder Mark Saunderson. “Many of these galleries will use the 4- day show as a cost-effective opportunity to introduce new artists and works to the city.” This could turn into one of Hong Kong’s most vibrant and exciting shows for original artworks, limited editions, sculpture and photography. It transforms a weekend in Hong Kong for art lovers, first time buyers and experienced collectors by presenting the work of young, emerging and mid-career artists in over 60 guest rooms with incredible works.

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Photo: Asian Contemporary Art Show

Text: Remo Notarianni

Making an impression
Between 4 and 7 October, 2012, galleries from the region and beyond converge on the Grand Hyatt Hong Kong to attend the Asia Contemporary Art Show. TPAG spoke to co-founder Douwe Cramer about the inspiration behind the show, and how it is creating opportunities and making a difference regionally and locally.

TPAG: — What have been your own insights about the local art scene as an art lover?

Douwe Cramer — I am originally from Holland but have lived in Asia for 25 years. At first, I lived in Taiwan for six years before moving to other countries. I was amazed at the art you’d see if you walked down a street in Taipei and many other places, whether it be ink paintings, calligraphy, or contemporary art. You are kind of tempted with art in many places in Asia. You start to buy and start to put things on the wall and eventually found that I was drawn into it. From friends I learned that this happened to many of them over the years. — Many of the major art fairs are beautiful experiences, but selling is often limited to the few percent that can afford it. We are looking to extend that experience to the next 20 or 30 percent. We want people to look at art, talk about art, buy it, take it home and hang it on the wall. And secondly – we want to present a greater choice of galleries and artists than you normally see in Hong Kong. — For us the concept has always been about creating choice for people along with more accessible art. In terms of price, the majority of works are likely in the range of HK$20,000 to HK$80,000 but can go higher in some cases. In terms of the diversity, we don’t only focus on Asia...When we looked at the concept of choice, we thought that there’s a great diversity and choice out there but it’s very fragmented. There’s a great choice of art in Beijing, there’s a great choice in Singapore, Taiwan and many more locations. But they are all islands unto themselves. It is difficult to see the range of artists and galleries in one place. We went out and visited galleries. I visited galleries in Taiwan, in Singapore, in Korea, Thailand and so on. We went out to see the kind of works they are presenting in the gallery and say “Hey there’s a fit here, as buyers look for accessibly priced art in Hong Kong”. We wanted to create an opportunity to put what we saw side by side in Hong Kong.

— What inspired you to launch the Asia Contemporary Art Show?

— What is the underlying concept of Asia Contemporary Art Show, compared to say, other hotel art fairs or events?

Art lover Douwe Cramer founded the Asia Contemporary Art Show with gallery owner Mark Saunderson to provide a platform for local and regional galleries and artists.
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TPAG: — How does the show help local artists and artists who may not be as well represented?

Douwe Cramer — The art prize is one part in this – which will give a number of local artists exposure to the same audience that the show attracts. In terms of the exhibitors - our approach has never been to excessively curate the show and say not this artist and yes that artist. Galleries do this for a living and deserve the credit. What we can do is create an environment that encourages galleries to bring new artists. And this is reflected in our marketing to buyers and collectors and in our efforts to keep the cost of exhibiting reasonable. One great example is our exhibitor SLY Art Space from Taiwan. This is an art space in Taipei run by a group of young artists – based on membership. Eight of their members have come together to exhibit and will show their works in Hong Kong for the first time. — Everywhere seems to be thriving in different ways. Singapore may have more of the software, and with major art fairs and the West Kowloon Cultural District, Hong Kong seems to be fitting the hardware. Indonesia seems to be blossoming. It is difficult sometimes to know why different places are doing well in different ways. We can factor in the higher costs and lack of space in Hong Kong but that’s only part of the story. As an art fair we can bridge some of these differences. — We want to help the galleries as much as we can so we make available equipment to help such as easels and extra lighting. We also provide some tips from galleries that have exhibited in hotel art fairs before. Most galleries will find it more challenging to curate an exhibition in a hotel room than their familiar gallery white space. On the other hand – the environment of a hotel room is maybe closer to the living room or bedroom that may make the art more accessible to many visitors. People try to imagine the art in their home — We focus on existing buyers as well as first-time buyers. But the demographic is changing with many professionals with a good disposable income now interested. We market the event through Facebook and social media, reaching out to this group. We market through established art media and galleries and we invest significantly in our website where everyone with an interest in the show can browse through the exhibitors and artworks even before the show. And as a Hong Kong company – we use our connections in Hong Kong.

— What are the relative merits of different countries in terms of the art scene and how do you think art fairs are making a difference?

— What sets ACAS apart in terms of curation?

— How do you reach out to collectors and your target group?


Investment SA is building a US$100 million tax-free storage facility next to Beijing Capital International Airport. The joint venture between Euroasia and Beijing’s Gehua Cultural Development Group is part of an attempt to create a platform for China’s burgeoning culture industry as well as create a legal safeguard against counterfeits. It comes with a maximum security vault for fine art, gold and collectibles, allowing collectors to store collections. But this could be big news for Hong Kong—once China’s showroom to the world. “Gehua’s plan is to promote Chinese art both nationally and internationally. It wants to create and organise a market that is loosely regulated,” Tony Reynard, the chairman of the Singapore Freeport Pte company is reported to have said. “There is a huge domestic market in China but the freeport in Beijing will also be important for the international market as import tax will be greatly reduced or even scrapped at the facility.”

Opening the vault
— Text: Remo Notarianni

Photo: Remo Notarianni


Trading places
Whether or not economies in Europe and America have taken part in a Faustian pact that compromised political values for economic gain, mainland China had written economic liberalisation into its development from its early reforms, even if political freedoms were not part of the plan; and this manifested in trade and business zones such as Shenzhen that had a nurturing role in China’s economic rise. Hong Kong, like Macau, bridged seemingly antithetical worlds. In 2012, the world may have been sold the quintessentially “Dengist” idea that a place can have economic freedom without political freedom, but as China economically outpaces its neighbours, how long will it need facilitators such as Hong Kong? Swiss logistics company Euroasia

reedom underscores the “One Country, Two Systems” pledge that separates Hong Kong from mainland China. Fifteen years after the Handover, economic liberalisation and development in the region, often with boundless business prospects, seemed to have marginalized human rights and politics to international corporations and the media. Demonstrators in Hong Kong continue to rally against “national education” and anti-sedition laws, with pro-Beijing leaders in Government House, but China seems to have become economically gargantuan enough to dim the international spotlight on the devils in its political details – providing at least some impetus for the region’s artists in the process.

As more galleries set up in Hong Kong, Beijing is planning to open a ‘Freeport of Culture’ that could blur the lines of commerce and culture.

Photo: Remo Notarianni

The Singapore Freeport interior 24 25



Art taxes and policies around the world
Capital venture
According to Reynard, the company is to replicate its Singapore Freeport model and the port’s high-security vault allows collectors to store collections without paying taxes or following many custom procedures. The Beijing facility is expected to be ready by the middle of 2014 and is estimated to offer a 34 percent saving. At 83,000 square-meters (893,405 square feet), the facility will be almost three times as large as that of the Singapore one. The tax advantages come with official reports that China overtook the United States to become the world’s largest art and antiques market. An anonymous Beijing-based collector says the freeport will “have a huge impact on the Chinese art world”, stressing that it will challenge Hong Kong’s preeminence as an art trade hub. While China boasts more than 1,000 auction houses and saw a 49 percent growth in auction revenue in 2011, major players like Sotheby’s and Christie’s remain in Hong Kong because of its advantages, namely no tariffs and a no sales tax policy. But as it takes on a leading role in the global market, China is making its tax system more attractive.

> In 2012, the Chinese government released new standard tariffs on original paintings and sculptures, lowering them from 12% to 6%. For countries that have signed preferential trade agreements with China, the tariffs rate of original artworks is 6%, while that of replicas is 14%; for countries that have not signed preferential trade agreements, the tariffs rate of artworks is 50%. Value added tax is 17% and sales tax is 5%. > The Chinese government plans to build an 83,000 sq m tax exempt Freeport next to the Beijing Capital international Airport by 2014.

Hong Kong and The United States
> No tax on the sales of art.

United Kingdom
> The 20% of value added tax on artworks is the highest in Europe, and the import tax rate is 5%, including up to 4% tax for the droit de suite.

Changing landscape
Earlier this year, the Chinese government reduced the customs duty on imported works of art from 12 percent to 6 percent but the tax break only applies for a year. Apart from this, importers are still required to pay value added tax of 17 percent, plus an additional consumption tax of 5 percent. A collector has to pay about 23 percent of an artwork’s price when transporting it back to China. How the freeport fits into that remains to be seen, but if it becomes the only trade-friendly art hub in the nation, then the heavy tax burden in other parts of the country may continue to

798 Machine Art

hamper development by preventing international galleries from entering the China market as a whole. According to an official statement from Li Danyang, the general manager of Gehua, the tax incentives are aimed at art traders and the centre intends to become the world’s largest art trading venue in terms of “total space, market coverage and functions”. With the overall growth of Asia’s art market, rapidly driven by the emergence of wealthy new collectors and a growing number of art investment funds, tax breaks, and sound art business environments are likely to be deciding factors of the art hubs of the future, and that has to go beyond an exclusive space at an airport.

> There are no tariffs on imported artworks in Singapore, and the sales tax is 7%. > The 30,000 sq m Freeport inside Changi International Airport allows non resident collectors to store art without paying taxes.

> In 2012, the French government announced an increase in the reduced VAT rate on artwork from 5.5% to 7%. > There is no tariff taxation, and up to 4% tax on the droit de suite.

> The tariff on imported artworks is zero and the sales tax is 5%.

> No tariff charges, sales tax is 5%.
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The Singapore Freeport



Spiritual borders
Daniela Beltrani takes a close look at the work of Singaporean artist Rofizano Zaino who urges us to gaze beneath seemingly tangible realities.
— Text & images: Daniela Beltrani

n old man is looking directly at us. His worn out face occupies the greater part of a thin, wooden panel taken from a shipping crate, but the hues and imperfections of the wood blend seamlessly with the quick and jerky brush strokes delineating the face. The sagging skin makes the small eyes and the asymmetrical mouth sink further into the distance, as if they were wells into his soul. Upon reflection, he is not really looking at us but through us, perhaps lost in thought and overwhelmed by a sense of fatigue; perhaps he has reached that hazy period in a man’s life when everything seems to be slowing down; and he is no longer fighting the inevitable forces of life. This man offers himself to us in all his fragility and is not afraid of running the risk of displeasing our eyes, which are accustomed to the modern world’s bombardment of shiny, polished images. The beauty here lies in the rawness and sincerity of the instant in which he is caught. It is one moment in his life, which conveys his life-story. The beauty certainly does not depend on the resemblance of the image to that of the real person – which I know to be remarkable. This man may have had a relationship with the artist, but he represents a glimpse into humanity, paradoxically through the presentation of certain unique details in his face, which the artist brings to the attention of the viewer: the sinking eyes and the misshapen mouth. The whole image is then built around those details, which, in the eyes of the artist, capture the essence of the man and make him unique yet familiar. The blue and green hues of his hair, shirt and background accentuate the red and brown colouration of his features, literally bringing it forward, face to face with ours.
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Mixed 3 (2011)



Rofi between Daniela and Ben Hampe, during the opening of Face2Face

Face2Face is in fact the title of the second solo exhibition by Singaporean artist Rofizano Zaino, also known as Rofi – graphic designer by profession and self-taught painter by vocation. It ran at Chan Hampe Galleries from 5 to 23 July 2012. His first solo exhibition Fragments of my Identity, was held at The Substation in April 2011. The painting Atok, 2003, described above, is the earliest work presented at the exhibition. In terms of style, this body of work represents Rofi’s departure from previous flatter attempts to search for depth and movement in the physical representation of his subjects that could be expanded to comprehend intangible realities, such as traits of character or personal histories. Whilst the Chinese brush cut short used in Atok proves to be a more apt tool in the artist’s hands – to better describe the nuances of the facial expressionit is only a few years later, with the use of the pallette knife, that Rofi finds the perfect instrument to obtain the sought-after effect. Regarding the content, the subject becomes the only focus of Rofi’s

attention and so the space where his characters live is amorphous and unimportant, even to the point of disappearance, as we can see in Mixed 3 and Mixed 4, where the face of the woman tightly occupies the entire canvas in a photographic close-up that crops the essential, leaving out inconsequential details. This “essentiality” may be the consequence of his more than decennial experience in brand design, where beauty, clarity of message and narrative within an image or symbol come together seamlessly. Yet the artist's creativity finds its limits in the commercial purpose of his creation, leaving him with a thirst for more independence and freedom that only art could allow him. His interest in humanity is clear in the choice of his subject matter; yet despite the variety of cultures and ethnicities one can see depicted on his canvases, the diversity is undeniably not the focus of his attention, but a mere pretext to highlight the common human aspects amongst the existing artificially constructed divisions, beyond the misleading layers of fabrics, words and newspapers. In the multi-cultural Singapore of the 21st century, obsolete ways of thinking , and the legacy of a colonial past help perpetuate unnatural divisions in the way we look at its people – members of the human race. In his oeuvre so far and in

Face2Face essentially, Rofi challenges this attitude: he decisively encourages the viewer to confront his characters and to see them beyond their physical diversity in favour of a more humanistic essence. And so, in overcoming this separateness, the subject becomes the one and only locus for discussion of common issues afflicting people everywhere beyond national borders, such as human fragility or thought control. In short, Rofi does not see “us and them”. He sees a diverse humanity and its attempts at dealing with challenges and reconciling the inevitable dichotomies of life. Rofi is not interested in seeking an answer to the “Don Quixotesque” quest for a national identity. Rather he transcends the imported and artificial concept of nation in order to relate to the viewer as a spiritual being with a human experience, in the same way that brand design often intends to talk to the consumer at large, beyond any distinctions of race, religion or culture. Rofi, thus, encourages the viewer to take the time to face one's destiny beyond the superficial. And in capturing the characters of human nature and experience, the good as well as the bad, one hopes that such a cathartic consciousness could uncover unknown territories where mankind can overcome the divisions of life.

The beauty here lies in the rawness and sincerity of the instant in which he is caught.

Opening of Face2Face Atok (2003) installed in the gallery 30 31



Senseless and the city
There have long been divisions between artist, artwork, and viewer. Hong Kong -based artist Rachel Smith describes how roving studio Senselessart is breaking down barriers in a city that is looking for ways to innovate.
— Text and images: Rachel Smith


o the casual participant, the art world can be intimidating at times. The unsettling distance might come from exclusivity and might sometimes seem warranted. In many places where I have lived and worked, I found the lines between artist and viewer to be very carefully drawn and while members of the public were invited to view or attend an event, they were not allowed to participate. Artwork is displayed, finished and polished for the viewer or buyer to pronounce judgement on it without understanding the process behind it. It is distanced by a loftiness that leaves those uninvolved in the arts with the mistaken idea that creators do not have the same issues or difficulties as the average person. With this delusion comes a certain amount of alienation from the artwork which leaves the efforts, sweat and tears that go into the achievement underappreciated. But in terms of the space, the joy and excitement that comes to an artist when sharing work with the community is also lost.

Sense and sensibilities
Founded in Hong Kong in 2009, Senselessart was created in response to this distance from artwork and artists. When hosting a gathering, people are invited to participate as well as view the work being presented. The venue is chosen to host the gathering and people who have participated are invited to attend the viewing. In a city in which galleries face high rents and the art business battles issues of cultural neglect, the space is not limited to or confined to any one district or venue, and flexibility is allowed to keep the happenings unique. By putting the events in different artist’s studios, participants can discover places that they may never have been to before, giving exposure to different artists and bringing people into their space so as to experience their way of life. The first major event hosted by Senselessart was titled Art Swap, took place in November 2009. To ensure participation by the invitees, only those willing to commit themselves
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Stitch Life Drawing — Rachel Smith organised by Senselessart and Spitting Gecko Studios



SquidInked tattoo design — Nick Street

Clockwise from top left: Cougar Stitch Burlesque — Rachel Smith My Most Comfortable Shoes — Rachel Smith Rachel Smith in action — photo by Stephen Lai Burlesque life drawing

were invited to attend. Participants were required to create up to three 8 x 10 cm single fold greeting cards. In return for their efforts, they would be able to choose the same number of cards to keep. For the artists who participated, it was a chance to engage in something light and fun. For those with no experience of producing artwork, it was an opportunity to enjoy the creative process and discover its joys and difficulties. Senselessart studio serves as a life drawing venue as well. The vibrant life drawing community in Hong Kong has burgeoned in the past few years and is peopled with interesting and talented artists who gather in different spaces to take part in life drawing sessions. While being mobile, the headquarters of Senselessart in Tin Hau on Hong Kong island and it serves as one of the studios open to artists to attend sketching sessions. Models at the Senselessart studio are

and for the duration of the evening, the guests could flaunt their personalized artwork as they became a piece of the living gallery. Senselessart is planning an event for autumn, 2012. The location is yet to be announced, but the artwork is already underway. What can be revealed is that the event requires each participating artist to decorate a set of five matryoshka dolls in their own style. On the evening of the event, the host studio will be decorated with blank doll forms and people will be given the means to decorate them with two-dimensional images in their own way. It should prove to be another successful event - one that encourages involvement and participation and leaves the attendees feeling a little more comfortable in the creative world, which could herald a new era of creative confidence in Hong Kong, by providing new and more accessible ways to create art.

often joined by the resident wildlife - an orange tabby cat – who has a penchant for posing with perfect aplomb, during sessions.

Living colours
From participating in their own creations, the next step for Senselessart was to invite people to become canvases themselves. Together with Wan Chai Painter Studio, a tattoo art event was launched. Artists were invited to create their own designs which were made into temporary tattoos. On the night of the event, several artists were asked to wield washable ink pens and draw directly onto the attendees. The requirement for attendance was a willingness to have your flesh marked by either the printed designs or the attending artists. No body was left untouched

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Royal family of art
Encounter runs from 14 September to 21 October, 2012 at the Institute of Contemporary Arts Singapore at Lasalle College of Arts. It showcases 100 works of 25 Academicians from Britain’s Royal Academy of Arts alongside that of 25 artists from around Asia. Offering multiple curatorial perspectives, Encounter opens up a dialogue with the local and international art community by exhibiting artists from different countries to side-by-side with well-established Royal Academicians. The aim of Encounter is to spark off a dialogue amongst practitioners in a diverse range of media – including painting, sculpture, assemblage, photography and video. It creates a forum as well as a platform of international curators that exchange ideas about different communities and environments to create a stunning visual art experience. The Royal Academy of Arts offering renowned artists, across generations and working in a range of styles and techniques.

— Text: Remo Notarianni

Photos: Fortune Cookie Projects

Featuring 80 works of art in a broad spectrum of media, 25 Royal Academicians come together with 25 artists from across Asia to showcase the best of contemporary art practice in Encounter: The Royal Academy in Asia.

Opposite page, clockwise from top left: Hold V (2012) — Antony Gormley FX Harsono West East Circle — Richard Long False Idols (2011) — Tony Cragg Your Landscape - White Dust (2011) — LXD This page, clockwise from top: Untitled Two — Gary Hume The Bohemian Rhapsody Project — Ho Tzu Nyen The World Explains The Way You Feel — Fiona Rae Empire’s Borders — Chen Chieh Jen

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Encounter is a Royal Academy exhibition in association with Singapore-based art advisory and curatorial firm Fortune Cookie Projects and the Institute of Contemporary Arts Singapore at Lasalle College of the Arts. The Bank of Singapore is a major sponsor. TPAG spoke to Howard Rutkowski, partner of Fortune Cookie Projects, and Renato de Guzman, CEO of Bank of Singapore about the inspiration and ideas behind the projects.
Briefcase — Michael Craig-Martin

Mr Renato de Guzman, CEO — Bank of Singapore
Your interest in Encounter is not only professional. Describe your personal interest in art. I was fortunate enough to be exposed to a lot of good art especially during my stint with ING Asia Private Bank. Being a European financial institution, ING has a long history in collecting art and is well-known for its vast collection of contemporary art, particularly of leading Dutch contemporary artists. In addition, when ING acquired Barings Bank in 1995, they also became owners of Barings’ important collection of European Masters. I personally started collecting contemporary art works about eight years ago. I was lucky to have been introduced to the works of Japanese contemporary artist, Yayoi Kusama, long before she collaborated with Louis Vuitton. — We believe that art serves multiple needs, fostering cultural and intellectual growth and creating an inspirational work environment. It also serves to inculcate awareness especially among our clients, on the appreciation of the finer things in life, besides monetary wealth. With more high net worth individuals emerging in Asia, these affluent individuals with a growing appreciation for both the intrinsic and commercial value of high-end art, would ultimately lead to the demand for exclusive and rare art to surge. In fact, auction houses are seeing keen interest from wealthy buyers. In Asia, Hong Kong’s auction market turnover trebled between 2009 and 2010. The Mei Moses Global Art Index showed an 11.8 percent rise in the first 11 months of 2011. — The collaboration with the Royal Academy of Arts provides Bank of Singapore clients with an exclusive platform to appreciate high quality contemporary art. Through this sponsorship, Bank of Singapore aims to assist Singapore’s goal to become Asia’s leading art centre, complementing our position as the leading wealth management hub in Asia. It also gives clients the unique experience of viewing the art pieces before the public as well as to meet the curators and the artists. The exhibition is very much in line with our aim to promote art as a catalyst to encourage dialogue, promote the interaction of ideas as well as to foster cultural and intellectual growth. — Encounter:The Royal Academy in Asia offers a wonderful opportunity to showcase the best of the leading artists from the Royal Academy alongside an impressive selection of prominent artists from across Asia. The exhibition includes the work of Paul Huxley, Ian Woo and Tabaimo. It is hoped that this exhibition will foster creative dialogue amongst a wide variety of artists, countries, cultures and visual art practices.

Howard Rutkowski, Partner — Fortune Cookie Projects
What inspired Encounter? The exhibition is roughly based on the RA's Summer Exhibition, which has been an annual event since the founding of the Royal Academy of Arts in 1769. It brings together all of the Royal Academicians of various generations, media and styles. It is not a thematic exhibition, but showcases a wide variety of visual arts practice. The RA is unusual in that it was founded by artists and remains, to this day, governed by artists. We did not wish to simply present the RAs themselves, but to create a platform that engaged the various art communities in Asia as well as the general public. In this way, Encounter is quite unique amongst institutional exhibitions that have been presented in Asia previously. — How wide do you think the diversity of artistic talent is in Asia? — It would appear that organizations like the Royal Society of Arts set the standards of art. How do you think Asia’s artists are breaking ground in terms of reshaping that landscape? — What are the advantages for artists working in Asia at the moment? — The diversity is truly vast. There are artists who approach the creative process in more formal terms and others who reference experience, environment, history, social and political concerns. — The best art - the art that is going to stand the test of time - is not always the first to be recognised. There is a deep pool of talent in the region that is often over-shadowed by more popular tastes. It is the responsibility of institutions, such as the RA, to ensure that artists are given a voice. It is also up to the artists to make work that can cross frontiers and be understood by audiences from different parts of the world. — It is not a question of advantages, but of opportunities. 15 years ago very little was known about contemporary Chinese art, now it has a global audience. Attention towards the art of Southeast Asia has yet to reach that critical mass, but exposure and understanding is growing.

— The corporate world and the art world have got closer. What difference do you think one can make to the other?

— What inspired the project and the bank’s involvement in it?

— How has this initiative made a difference to the art scene in Asia?

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2 8 10 4

Calm during the storm
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11 5


6 7


ong Kong hit Typhoon 10 at midnight on 23 July 2012 but that did not stop the “Land of Smiles” Thai Charity Dinner, scheduled to be held on 24 July, from being a success. Guests had flown in from Thailand, Singapore, Japan, Malaysia and China and and it was everyone’s guess as to how the weather would be on the 24th. Miraculously, it was back to signal number 3 by 11 am, on the next day and soon after, the hustle and bustle began. Life went on as usual. The forces of nature did not dampen the mood and good spirits. Guests turned

up in full but a few could not make it back on time due to the delay of flights and ferries. The Pocket Arts Guide is pleased to be the event media partner yet again in support of Dr 19 Baht Foundation which is devoted to improving the health and well-being of less privileged Thais. SHK Private at Hysan Avenue, Causeway Bay, was filled with many distinguished guests. The evening highlight was the impressive Infinity sculpture by Master Richard Zawitz, successfully bid by Mrs Boonruan from Thailand.

1. Mr Attasith, Mr Duane Thia, Master Richard Zawitzx with his impressive Infinity sculpture 2. Cheers to all 3. Mr Alain Chiglien, Ms Gretchen Ng, Ms Natalie Ng and Dr Marvin Tse 4. Acknowledging one of our product sponsors for the night, Ms Carol Wong 5. Mrs Betty Da Silva, the successful bidder for Magnum Trio (Louis Jadot), Mr Attasith and Miss Thailand 6. 2 Miss China, Miss Japan, Ms Noriko, Ms Donna Nguyen, Master Richard and 2 Miss Malaysia 7.Ms Gretchen Ng, Mr Attasith, Mr Peter Chen, the succesful bidder for Magnum Trio (Petaluma Riesling) 8. Mr George Allais, successful bidder for limited edition Diadema, Mr Michael Bheem and Miss Malaysia 9. Successful bidder for Mathon Paris necklace, Mr William Siu with Ms Gretchen Ng 10. Mr Alex Sim, Mr William Siu, Miss Malaysia, Mr Attasith, Mr Sean Johnstone, Mr Alex Wan 11. Guests having a good time 12. Ms Pronpan with her personal collection, Thai Silk Hanger, with the successful bidder, Mr Tony Kwok 13. Ms Noriko, Miss China, Ms Pornpan, Mrs Boonruen, the successful bidder for the Infinity sculpture, Mr Attasith, Master Richard Zawitzx with grandson and Mr Duane Thia

40 41



Pulau, exposed inside the closet
— Text: Daniela Beltrani Images: Ezzam Rahman and Nonie Mak


ithin the Singapore context, the Bahasa Melayu word pulau commonly translates as ‘island.’ The reference to Singapore thus seems logical, but as the title of the group exhibition, curated by multidisciplinary artist Ezzam Rahman and showing at The Substation’s Random Room from 13 to 16 September 2012, it is unusually associated with a transitive verb meaning ‘to isolate.’ The theme of isolation is powerfully conveyed with a selection of artworks by ten Singapore-based artists and two Swedish ones, and the theme permeates the presentation: the very choice of exhibiting space is meant to convey the sense of restriction and intimacy a closet can offer – not only as a zone of comfort and protection, but also as a zone of limitation and reception of unclassified items. The curator clearly intended to engulf the audience with an intimate but near claustrophobic artistic experience, to create a flow amongst artworks placed closely together, almost as if in conversation, and to allow the honesty inherent in all of them to be displayed in all its unflinching power.

against inner demons within the desolate realm of loneliness to create these works. And Pulau invites the audience to share the works in the metaphorical place they were created in and spent most of their life in: the majority of them was never shown in Singapore or shown just once. Their placement was not in a gallery that follows a white cube style – cold and detached – but in a small room that could best convey this sense of offered intimacy and the warmth of being human, with all its flaws and weaknesses. It is up to the audience to receive the works in their essence, and with a non-judgmental attitude, or one that goes beyond the restricting parameters of good and bad. They appeal to our emotional side and discuss humanity in the smallest and more confidential terms by showing us a side to it that we might not be familiar or even comfortable with. The full extent of Farah Ong’s photograph of herself smoking, in a relaxed pose yet wearing an unusual plastic, transparent piece of clothing, becomes clear when one references it to the tudung as the headscarf worn by Muslim women in Southeast Asia, indicating the equivalent of Islam’s hijab and in Malay meaning ‘to cover.’ The oxymoronic character of this

particular tudung seems to belie two contradictory needs, that of perfunctory compliance with religious and cultural impositions and that of expressing the individual truth of the person wearing it. Thus the dualistic experience of human life is sublimated in the body of the artist and in her pose, relaxed and open, almost oblivious of the consequences this tudung may cause in others, but herself almost comfortable in it.

Leap of hope
Ezzam Rahman manages to portray actuality and potentiality, to present awareness and desire, to discuss reality and aspiration with his amorphous frog. Its pitch black shape conveys an inescapable imperfection in stark contrast with the golden crown, sign of expectation and hope that the frog will magically turn into what the popular fairy tale tells us: a prince, a creature of beauty and perfection. The metamorphosis is hidden – between the opposition of colours and almost into the hands of the audience. The artist merely waits for it to happen.

Discomfort zones
The artists have, each in their own personal way, distilled their human experience of individual struggle
Tudung Series (2012) — Farah Ong

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The artists have, each in their own personal way, distilled their human experience of individual struggle against inner demons within the desolate realm of loneliness to create these works.

Tudung Series (2012) — Farah Ong

Photo: Nonie Mak

Never Been Kissed (2012) — Ezzam Rahman

The exhibition Pulau (by ten Singapore-based artists: Aiman Hakim, Brian Gothong Tan, Chand Chandramohan, Ezzam Rahman, Farah Ong, Kelvin Atmadibrata, Naresh Subhash, Perception 3, Royston Tan, Tricia Leong) was first shown in Sweden at the Stockholm Pride, Kulturhuset, Stockholm, between 31 July and 3 August 2012 ( and travelled back to Singapore with the addition of two Swedish artists, Elinore Linden Strand and Frida Isotalo.

Photo: Ezzam Rahman



Toh Kian Tat Bernard, Boxes of Life Stories, 2012

Pride against prejudice
— Text and images: Daniela Beltrani

One serendipitous Sunday afternoon in July, at the gallery space in Singapore’s Goodman Arts Centre, I came across an unusual exhibition – one in which artists were such by participation to Project Dreamcatchers, which was part of the Shine Youth Festival, and organised by Dreamcatchers, National University Hospital’s Adolescent Chronic Illness Peer Group. The selection of presented works offered a variety of mediums, from paintings to installations to video, and some of these required audience participation in order to be fully appreciated. The youths taking part in the exhibition are all living with disparaged chronic illnesses. Many of them embedded medical objects, present in their therapeutic life routine, into their works in an attempt not only to acknowledge them but also to change their role from something associated with a seemingly negative situation, into something that can show a situation where their character is tested and built on. Dialysis tubes, oxygen masks, crutches and urine bottles were used alongside acrylic paints, photographs, and coloured markers to create works that express the

resilience and courage of youths who do not feel defined by their diseases. Conversely, it was a testament to how they turn an apparently disadvantaged condition into an opportunity to affirm life, courage and strength. The defamiliarisation of these medical objects, in which physical and contiguous associations of disability are transformed into symbols of resilience, has a perceptually groundbreaking impact on consciousness and the way disability is viewed. People with disabilities are faced with challenges that, like many aspects of the human condition, might be easier to face with a changing point of view. But their battle against adversity isn’t made easier by the language that society uses to describe them and the presentation of such tools as synthetic compensations for features of life that support everyday existence. And the gallery was buzzing with the pride and positive energy of youths who were not shy to share their story and that of their works with the audience, with huge smiles on their faces.

Terms such as “handicapped” conjure up “disadvantage” more than strength. A new exhibition changes the way we view the young disabled by highlighting their courageous embrace of life.

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Firdaus Fakhrudin, Tsuyoi/Strong, 2012

Daniela together with Leong Yu Qi Vanessa and her Happy Crutches, 2012

Leong Yu Qi Vanessa, diagnosed with spina bifida and scoliosis, created the interactive Happy Crutches, from a pair of walking aids with the addition of ribbons to signify her cheerful personality, and jingle bells to mask their eerie typical tick-tock sound. Yet whilst she admitted she was uncomfortable with the unwanted attention she received when people saw her walking with them, what people did not realise was that she

had fought hard to move from the wheelchair to them. And with the colourful Happy Crutches Vanessa seems to scream her happiness at having made such conquest and invites the audience to feel what it means to walk with them. Firdaus Fakhrudin, diagnosed with nephritic syndrome, created a video complete with sound, in which he used various kaleidoscopic images alongside English words and Chinese

ideograms to distil his life experience and convey a message of encouragement to fight and stay positive in the face of difficulties. This exhibition was a great opportunity to experience art as a platform that communicates humanity’s potential in the face of adversity, devoid of hollow rhetoric and with the honesty and unassuming character that all artworks should be created and presented with.

The exhibition Project Dreamcatchers was at held at Goodman Arts Centre, between 27 and 29 July 2012. The works can still be seen at



Not for all the art in China

Text: Remo Notarianni

In March 2012, The International Art Market in 2011: Observations on the Art Trade over 25 Years was published, one of the biggest official studies of the art market in recent years. Commissioned by The European Fine Art Foundation, organisers of The European Fine Art Fair (TEFAF), the report was researched and written by Dr Clare McAndrew, a specialist in the fine and decorative art market. The report confirmed sooner than expected what many had prophesied: China has overtaken the United States as the world’s largest market for art and antiques, sending easel-quivering shockwaves through the business. China’s share of the global art market soared in 2011 to 30 percent, from 23 percent in 2010, leaving the United States with 29 percent. The shifts are dramatic but offer tell-tale signs that a culture industry is changing too fast to be healthy; the end results of which we may not see clearly until the dust settles. At the moment, figures are hard to keep up with, but the trend is evidently moving ‘Eastward’. The United Kingdom, which was overtaken by China in 2010, has a 22 percent market share.

Art alternatives
Beyond the Eastern promises in the headlines, the changes have been salutary, helping to revive the industry overall. Driven by a rise in Modern and Contemporary art, 2011 saw a rise in the market by 7 percent to ¤46.1 billion, lifting it out of the crisis of 2009. The optimism may seem oasis-like in the unrest, but it has created an environment that is cautious, yet spurred on by market possibilities. Dr McAndrew’s report reveals the extent of China’s growth, as it grows from a domestic, investment-savvy pool of consumers. Art has also become a refuge for China’s economic cracks, offering alternatives to the nation’s shaky property and stock markets. But there’s more to the recovery of the art market than a thriving collector class in China. The business has become increasingly global and its transformations from 2009 signalled a movement from an industry confined to certain key cities and demographics, to one that was quintessentially global in n industry that has grown 575 percent over 25 years.

According to official reports, shifts in the balance of power have put China at the centre of the art market. Remo Notarianni looks at changing power structures.
Photos: TEFAF

50 51


The Net goes East
With the art market mushrooming in size, from US$10 billion in 1990 to US$66 billion / ¤48.1 billion in 2007, changes have run parallel with the growth of global business, marked by an increase in the wealth of developing markets, information and sales, using hi-tech mediums such as the Internet, and the growing financial status of art as an investment, in emerging and key markets. Unlike economies like Japan that grew in relative insularity during the 20th century, China’s emergence has happened because it can intertwine globally. But the ability to reach buyers in parts of the world that were previously awkward to reach, made possible by technological advancements, has widened the global distribution of the market, with galleries in traditional hubs like London and New York, reaching out to wealthy collectors in Asia, the Middle East and elsewhere; and this has changed the world order of the past 50 years. The sophistication of a new hi tech business infrastructure, spawned a generation of wealthy people in areas previously untouched by the contemporary art market. But it has not so much been about the buying power of rich collectors but the means of reaching them. Technology has in that sense, not only provided a medium to profit from emergence in parts of the world previously unreached. During the economic downturn of 2008, the one percent lost relatively less in the crisis than the average person, in the US and other mature markets because of access to global markets—thus widening the wealth gap between high net worth individuals and those who could not find global financial sanctuary in developing markets. In a changing world, art will fall into different hands, even if it cannot empower itself to change that world. Let’s hope it does find a way, if there is a new world order.

Doppelganger (Pink Rocinante) — Michael Joo, 2009-2012

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140 Hill Street #01-06 MICA Building Singapore 179369 +65 6733 3822 Daily: 11am to 7pm

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National Museum 93 Stamford Road Singapore 178897 Asian Civilisations Museum 1 Empress Place Singapore 179555 National University of Singapore Museum (NUS) University Cultural Centre 50 Kent Ridge Crescent National University of Singapore Singapore 119279 Goodman Arts Centre 90 Goodman Road Singapore 539053

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Lim Leong Seng Studio 107 91 Lorong J Telok Kurau Road Singapore 425985 +65 9738 2792 By appointment only Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B #03-14 Singapore 439053 +65 9151 3227 By appointment only ΩThe Asia Pacific Contemporary Art Fair (Shanghai, China) 7 – 9 September 2012 Fine Art Asia 2012 (Hong Kong) 4 – 7 Oct 2012 Affordable Art Fair (Singapore) 17 – 20 November 2012 India Art Fair (New Delhi) 1 – 3 February 2013

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62 63

TPAG gets it before the grapevine
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Grapes — Yayoi Kusama

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Complimentary copies of TPAG are available at several places in Singapore and Hong Kong.
Singapore: Copies are distributed at the Singapore Art Museum (SAM), Asian Civilisation Museum, Alliance Francaise, NUS Cultural Centre, Singapore Tourism Board’s Ticket Cube along Orchard Road, leading art galleries (Sunjin @ Holland Village, Chan Hampe @ Raffles Hotel, Art Trove @ Waterloo Street, Bruno Gallery @ Tanglin Place, Art Exchange @ The Central. 7Adam @ Adam Road and more). It is also distributed at IndoChine Group of Restaurants, Café Papa Palheta and Café Strangers’ Reunion. Browsing copies are also available at Lalique Boutique @ Mandarin Gallery, Boutique Baccarat @ Takashimaya, the American Club, British Club, Singapore Cricket Club, Singapore Island Country Club, St. Regis, Amara Sanctuary Resort, Ritz Carlton, Grand Hyatt, Goodwood Park Hotel, Residence at Martin No.38, The Marq on Paterson Hill, Affluent Banking Centres of Maybank, Aberdeen Asset Management and more. Hong Kong: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Diamond Suite of Lane Crawford, 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. For the environmentally-conscious, the PDF format of TPAG can be downloaded from every month or simply flip through the magazine on the website using the online reader.




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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. TPAG, ISSN 2010-9739, is published 10 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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Stillness, 2011 Ink and gouache on paper, 153cm x 75cm


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