OCTOBER 2012 — ISSUE 35
WHO’S CHANGING THE ART WORLD?
TPAG / www.thepocketartsguide.com
TPAG ISSUE 35 — OCTOBER 2012
42 22 18 26 30 34 38
08 ART WIRE 38 PORTFOLIO
18IN THE FRAME
Sense of touch
Classical and cutting edge
26 ART LANDS 52 MAP
A tale of two cities
Breaking the silence
Passion and power of the brush
The art of taking fun seriously
Pressing the issues
Retracing the steps
Art galleries in Singapore
ISSN 2010-4375 / MICA (P) 130/03/2011
Dear Readers, The October 2012 issue of the Pocket Arts Guide (TPAG) comes with the eclectic verve that has made it a local art magazine with global and regional perspective. This issue is naturally bustling with art fairs as new ones seem to be springing up in Hong Kong and Singapore overnight, along with the exponential growth of the art market in Asia along with landmark events such as the recent opening of the Gillman Barracks in Singapore. But during its continuing growth and development, TPAG’s central tenets remain unshakeable: true art knows no bounds and as this month’s Art Lands on Manila states, it flourishes when it is given a chance. Art certainly seems to be getting ample opportunities for love and attention with the art fairs and events in the region, and it is a good time for nurturance and experimentation. This issue looks at the language of sculpture which is thematically significant because for many it has been considered an area that is getting left behind as new mediums and spaces arrive. This month’s ‘In The Frame’ reveals that the language of sculpture is alive, sharing the spaces of real people and buildings, and keeping a strong connection between the world of mind and environments – proving that mind can influence the material world as materialism tries to influence us. So it is not only a time for the birth of new artists but also for new appreciation of old forms. The artists in this issue are riding on a new wave of confidence with art fairs in the region; and with TPAG’s presence at these fairs we keep our finger on the pulse of art as new pieces come into being.
Editor-in-Chief Remo Notarianni email@example.com Art Director Herman Ho firstname.lastname@example.org Contributors Gladys Teo, Jason Roberts, Loredana Paracciani, Richard Chua 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 email@example.com Distribution & Circulation: Callie Gay +65 9477 5928 firstname.lastname@example.org Press Releases: email@example.com Hong Kong Contact: Sally Lee +852 9095 6316 firstname.lastname@example.org
On The Cover: Death Head Moth — Garth Knight
TPAG ISSUE 35 — OCTOBER 2012
100% Design Singapore Makes Its Debut With Moroso And 100% X – 55:75:95 10.10.12 — 12.10.12 Marina Bay Sands www.100percentdesign.com.sg Singapore As the first and only curated contemporary design-led interiors exhibition in Southeast Asia, 100% Design is presenting the latest trends in furniture, lighting, accessories, wall and floor coverings at the Marina Bay Sands Hotel in Singapore. A unique part of the 100% Design Singapore experience is 100% X, which presents different designs each year. This year’s theme, 55:75:95 is conceptualized by award-winning design consultancy VW+BS and has been designed to cascade through the installations and the conference.
Chinese School Lessons — A Solo Exhibition by Green Zeng 27.09.12 — 18.10.12 Chan Hampe Galleries @ Raffles Hotel www.chanhampegalleries.com Singapore In the exhibition ‘Chinese School Lessons’, Green Zeng continues his examination of the making and manipulation of history. This time his gaze is turned on the Chinese school student activism of Singapore, before and after its independence; and the educational reforms affecting Chinese schools. Zeng presents a series of blackboards, covered with silk-screened images of Chinese school uniforms, painted flags and words in English, Chinese, and Malay.
Glimpse of Geisha 22.09.12 — 17.10.12 Asia Fine Art Gallery www.asia-fineart.com Hong Kong This ‘solo exhibition by Charito Helgason will open with a collection of her latest work, created with loving attention to detail. This exhibition demonstrates the creative depth of talent that the artist has deep in her sub-conscious and which manifests itself in images of beautiful women. Charito can draw on a cosmopolitan background – she was born in Vientiane to Vietnamese and Filipino parents and has travelled to cities around the world.
Glory Asia — Solo painting exhibition by Dadi Setiyadi 10.10.12 — 16.10.12 Sunjin Galleries @Sculpture Square www.sunjingalleries.com.sg Singapore The stories scattered throughout Nusantara, or the Indonesian archipelago, are like hidden treasures waiting to be unearthed as they become understood. “The stories of gods and mythical creatures impart many guiding life values in every culture. Thus the human race started from the same reference point: the same social values are shared.” In this exhibition, Indonesian artist Dadi Setiyadi argues this in his portrayal of Classical European works as points of cultural and mythological references.
Joel Morrison 13.09.12 — 17.11.12 Gagosian Gallery www.gagosian.com Hong Kong In this exhibition, artist Joel Morrison draws on and common objects to create intricate and complex sculptures and drawings. His sculptures are made from found objects such as plaster busts, weather balloons, water bottles, and shopping carts, which he then casts them into polymorphous forms, and bright stainless steel. In Morrison's oeuvre, a quirky conversation between a world of humour and the arthistorical canon seems to be taking place.
Profiled 07.09.12 — 03.11.12 Galerie Steph www.galeriesteph.com Singapore Profiled presents the latest work of photographer Ken Gonzales -Day's. Gonzales -Day is based in Los Angeles and is the Chair of the Art Department and Professor at Scripps College, where he has taught since 1995. Gonzales-Day has had numerous international solo and group exhibitions, from Los Angeles to New York and Paris. Profiled is an in-depth analysis of race in sculpture as well as portrait bust collections.
Ngura Puti ( Bush Homes ) 05.09.12 — 13.10.12 ReDot Fine Art Gallery www.redotgallery.com.sg 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. First Solo Exhibition of French artist Bernar Venet 26.09.12 — 24.11.12 Art Plural Gallery www.artpluralgallery.com Singapore Bernar Venet unveils new sculptural reliefs from his GRIB series, a continuation of the wooden Indeterminate Lines that were produced between 1979 and 1983. The works were made using 35mm steel plates and they were torch-cut by hand. The technique adds to the aesthetic irregularity of the ‘scribbles’ and gives the works a rough character that makes them more accessible than previous works. Buffet Rodin 13.09.12 — 01.10.12 Opera Gallery www.operagallery.com 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.
SOLO EXHIBITION OF
Glory Asia 10 –16 October 2012
At Sculpture Square
White Goat (2011) — Dadi Setiyadi 150 x 190cm, acrylic on canvas
3 STOREYS - A Tiong Bahru Inspired Lifestyle Art exhibition 21.09.12 — 09.10.12 White Canvas Gallery www.whitecanvas-gallery.com Singapore This exhibition presents the 3dimensional lifestyle art of Tan Sock Fong in the form of a homage to the neighbourhood Tiong Bahru. It also includes the ceramic cups and tea pots of Saya Yamaguchi, and Casey Chen’s Pop Art – themed laser cut metal sculptures. But the exhibition is, in part, a reminiscence of growing up in the neighbourhood, Tiong Bharu which inspired the artist, aesthetically and architecturally.
SurfaceScapes 21.09.12 — 27.10.12 Mulan Gallery www.mulangallery.com.sg Singapore SurfaceScapes is an exhibition showcasing new paintings by Valerie Ng. Inspired by the landscape and aspects of life from the artist’s residency in Finland, this work presents shifting light, mood and colours in a landscape with varied weather. Moments of landscape conditions and transitions in the atmosphere are collated into the abstract. Positioning the eye alternately far afield and up close, the landscape and subtle shifts in nature’s movements form the fundamental basis for these compositions.
Treasures of the Aga Khan Museum: Architecture in Islamic Arts 28.10.12 The Asian Civilisations Museum http://www.acm.org.sg Singapore As one of the highlights of the ‘Treasures of the Aga Khan Museum’ Weekend exhibition, The Asian Civilisations Museum (ACM) set a record for Singapore’s Largest Chalk Art with over 200 visitors taking part in a record-breaking flash art activity to create a mosaic of colourful geometric patterns inspired by Islamic art. The exhibition is organised by the Aga Khan Trust for Culture and the Asian Civilisations Museum.
Written Images: Contemporary Calligraphy from the Middle East 20.09.12 — 04.11.12 Sundaram Tagore Galleries www.sundaramtagore.com Hong Kong ‘Written Images: Contemporary Calligraphy from the Middle East’, curated by noted art historian Karin von Roques is a first in the history of Hong Kong galleries in the way it brings together Iranian and Arabic calligraphy. 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.
Master Strokes: Works by Abbot Song Nian of the Mahabodhi Monastery 27.09.12 — 02.12.12 Asian Civilisations Museum, Shaw Foyer www.acm.org.sg Singapore This exhibition celebrates the artistic individuality and generosity of the Reverend Song Nian on the 15th anniversary of his death. It will showcase pieces from this creative and religious master’s rich body of works, including several which he donated to the national collection, along with seal carvings, The Reverend Song Nian (1911–1997), a native of Jiangsu province in China, was the abbot of the Mahabodhi Monastery in Bukit Timah, Singapore.
Calligraphic Works Of Huang Yao Showcased At The “'Within Shan Shui” Exhibition 04.10.12 — 07.10.12 Upper House Hotel www.huangyao.org Hong Kong Two calligraphic paintings by innovative calligrapher and artist Huang Yao, titled “ Let us drink to the moon” and “ A hundred years of bliss” at the "Within Shan Shui" will be previewed for exhibition for Fine Art Asia (FAA) 2012, at The Upper House hotel in Hong Kong. The exhibition confirms the importance of the Chinese pictograph, Chinese calligraphy and the painting method.
Tuju@7Adam — 7 Elements Across The Seven Seas
A group of six award winning local artists got together seven years ago to give an exciting new direction to the Singapore art scene. Made up of Rosihan Dahim, Jalal Sarimon, Sujak Rhaman, Sunar Sugiyou, Ramli Nawee and Tumadi Patri, TUJU or “DIRECTION” in Malay has since been a source of inspiration for aspiring local artists. The six artists come from vastly different artistic backgrounds and experiences, each with specific skill sets and talents, ranging from Batik to Abstract Digital Art. Coming together and combining their unique talents, TUJU presents their extraordinary artworks in a stimulating group exhibition at 7Adam. Visitors can expect to see an array of artistic styles ranging from Sunar Sugiyou’s abstract Chinese ink art, Ramli Nawee’s abstract digital art, Sujak Rahman’s batik art to Rosihan Dahim’s surrealist art. Titled “7 Elements Across the Seven Seas”, the artists of TUJU, in the month-long exhibition, will celebrate seven years of their collective effort, as well as the seven elements that are pronounced in their artworks – Light, Voice, Earth, Water, Wind, Roots and Senses (The Mystical Seven) – across the seven seas, which are the Red Sea, the Mediterranean Sea, the Persian Gulf, the Black Sea, the Adriatic Sea, the Caspian Sea and the Indian Ocean. As a group comprising of individually accomplished artists, TUJU has received numerous outstanding accolades and awards for their artworks as well as their contribution and dedication towards the local art community. Their works have been exhibited outside Singapore including America, Australia, the Middle East, China, Europe and South East Asia. Besides being dedicated to their artistic endeavours, the TUJU group is also committed to helping the Singapore School for the Deaf. They hope to build a Community of Excellence in the Arts by becoming role models for the young Singaporean artists of tomorrow, in particular for deaf children.
Their latest works, ‘7 Elements Across the Seven Seas’, will be exhibited in 7Adam from 18 October to 17 November 2012.
TPAG ISSUE 35 — OCTOBER 2012
IN THE FRAME
Sense of touch
Text: Remo Notarianni
Biondo Dentro — Manuel Müller
Sculpture moves beyond the frame to communicate in the same space as the viewer. With a greater choice of materials than ever, sculptors are keeping its language alive and communicating on deeper levels.
Bacchanale — Manuel Müller
Maggots — Pham Ngoc Duong
Composite sculpture by Pham Ngoc Duong
onceptual art and multimedia have widened creative horizons, but sculpture continues to speak in the spaces between people and buildings, refusing to be confined to classical memory. Sculptors are embracing new materials, in a language that finds the vitality of flesh in the hardness of stone. TPAG looks at the work of different sculptors, the materials they use, and how they can articulate with its unique language.
Robert Müller and the godson of Chinese artist Zhou Wouki. The Lausanne-based artist learned sculpture in Carrara, Italy in the 1970s and works mainly in wood, as well as glass and bronze. In the mix of classical, eastern and contemporary styles, a seemingly universal, continuing story of life, death, sex, and primal existence is told. “A sculptor is someone who has a three-dimensional, non-verbal vocabulary with a diction that somehow pre-exists the verb but which can be "read". Painting, and video have their own vocabulary, but the vocabulary of sculpture has the exclusive parameter of touch, and the emotion of the possibility to be read by the hand. In one word, it is erotic. The world in general is ruled by the verb, as people build a story around
the object in order to be able to "see" it, and among carvable materials, wood has many advantages in articulating this language. Wood is a living, sensual material that articulates fluently as you listen to it, and understand it in order to carve it well.”
Pham Ngoc Duong
Like many artists of his generation, Vietnamese artist Pham Ngoc Duong draws on contemporary and international influences, and for Duong sculpture recreates the space of a Vietnam in transition – one that looks at itself in a changing world. Duong who studied at the Hanoi Fine Arts University in the 1990s, cites Christo and Joseph Beuys as influences, along with his contemporary Truong Tan. Duong’s work titled Maggots was showcased at the 2008 Singapore Biennale. 18
Understanding the work of Swiss sculptor Manuel Müller is like trying to decode a visual babel that catches aeons in a breath, or listening in on a time traveller’s lingo that blends an ancient tongue with a 21st century urban slang. Müller, who held his first Asian exhibition in Hong Kong in May 2012, is the son of Swiss sculptor
Firewood — Gordon Cheung
IN THE FRAME
TPAG ISSUE 35 — OCTOBER 2012
I am not here — Simone Boon
Video projections on ceramic objects — Simone Boon Cow Sculpture — P.Gnana Reason to Live — P.Gnana
“For me, any material has power but when looking for a new material the first thing I will do is associate it with similar images in real life. For example composite painted in fabric can be as hard as plastic. After working with the material, I spray the work to match it with the concept and idea. In my work Gold Family I wanted to choose the original colour of the clothes and the accessories. The gold creates the feeling of something luxurious and expensive but the characters have crude, painful expressions. In another sculpture series called High School Students I paid attention to the uniforms of students and made it a real experience. Compared to other art forms, a sculpture can be touched and smelt in 3-dimensional space, and has a direct impact on the viewers.”
Hong Kong and has exhibited widely in Asia. Her sculptures express femininity as a force that gently inhabits the space of the viewer. Using textures that, at once, present fragility, strength and an elegant interaction with the forces of life, Boon’s work is marked by a corporeal spirituality that manifests an idea or ethos. “I think any art form has power, charm and the character to be expressive. Art is a language and it is not always easy to understand. Sometimes one needs to read about the art presented, and hear explanations. Aesthetics is just one layer. The shadow a sculpture casts is real, forms reflected by the light are real, and the material chosen can be linked to the subject matter. Different textures say different things and evoke different emotions. I have made sculptures in plaster on a base out of mesh (‘taille direct’), in bronze cast
from a hand built clay form, in earthenware, and stoneware life size figures, fired in a very big kiln, as well as in marble. The series “Woman Without” was made from earthenware and sawdust fired into warm black and red earthenware tones but Sleeping Child, a stylized abstract sculpture, was based on a drawing made of my child in a plane, and cast in copper in an old Indonesian way.”
“I use all sorts of materials depending on the idea but I suppose the main material I use is Financial Times newspaper. Materials in themselves will suggest different ideas and feelings such as the Driftwood or Firewood sculptures displayed like a pile of firewood, but actually made from newspaper. It poetically suggests that these branches have washed up from a “sea of information”. It is a direct metaphor of the global financial world we exist in. Sculpture is all around us in a way and it’s just that art asks us to slow down, take time to contemplate and focus the mind and spirit for a short time to see things refreshed from a different perspective.”
British artist Gordon Cheung’s visions are like multimedia hallucinations of a reality teetering on the brink of the virtual and the real. They say something about the narratives and mythologies of our civilisation. Cheung, who graduated from the Royal College Of Art, uses spray paint, oils, acrylics and pastels but his work is strongly trademarked by his use of stock listings, which he also makes into sculptures.
the Lion City. Gnana, who graduated from LASALLE College of the Arts connects city life with endearing memories of his childhood in his hometown through an artistic veneration of the cow. Gnana’s cow has become a transcendental metaphor for a personal journey from the innocence of his formative years to a confrontation with urban complexity, in which memories of home become companions in the temperamental reality of current times. “For sculptures, you have to express precision as well as creativity as observers can view and touch them from every angle. With paintings, a great deal is left to the imagination. Sculptures are everywhere and the experience is already physically apparent. Sculptures are not only seen in temples, art galleries or museums, but are also an important aesthetic and recreational part of our
everyday life. The materials I use are found materials (car parts, two – wheeler parts, scrap material) and I combine them with solid bronze and antique vessels. I choose to use a combination of new materials / medium and old materials (for an antique impact) with completely different tones to create a new visual language and to give my sculptures a more expressive statement for the viewers. With confidence and an abundance of practical and aesthetic ideas, I transform the meaning and purpose of mundane, everyday objects into poignant expressions of urban relevance.”
As one of Singapore’s foremost sculptors, Indian artist P. Gnana sparks a conceptual, dialogue with
Dutch artist Simone Boon lives in
TPAG ISSUE 35 — OCTOBER 2012
Text: Remo Notarianni
Classical and cutting edge
Fine Art Asia’s unique combination of the classical and contemporary sets it apart from other fairs, and it has remained true to its vision of being an antiques and jewellery fair with a contemporary edge. Founder Andy Hei revealed how the classical can complement the modern, and how the modern can revitalise the traditional.
TPAG: — What inspired Fine Art Asia?
Fine Art Asia is now into its seventh edition and it remains a top event for collectors of contemporary art. TPAG talked to founder Andy Hei about its origins and its de velopment in a changing art scene.
Andy Hei — When I was working as an assistant to New York dealer Robert H. Ellsworth, I had plenty of opportunities to visit art fairs around the world. These included the New York International Fine Art and Antique Dealers Show in 1989, the International Asian Art Fair of New York in 1990, and the Grosvenor House Fair in 1991. In 2000, I started to exhibit at the International Asian Art Fair. Most of them were not as big as trade fairs, which had thousands of stands; they had 50 to 80 dealers at approximately 3,000 to 5,000sq.m; they cooperated with different parties like designers, contractor, logistic service provider, PR, marketing, media, institute, museum. These experiences were an eye-opener for me and made me realize there is a modern way to develop the very traditional antique business. In Asia, it is not uncommon to see dealers still sit in a shop and wait for buyers to walk in. — The first edition of the Fair only had 17 exhibitors, and most of them were my or my father’s friends or dealers venturing to Asia for the first time. I looked for specialist dealers, for instance, snuff bottles dealers (e.g. Robert Hall of London), Buddhist sculptures dealers (e.g.Rossi & Rossi of London). In this way, clients can come to the fair with targets. During the first two years, I had organized three fairs: two antiques fairs, one contemporary art fair. Every time, HKCEC would send inspectors to see the fairs. In 2008, the fair moved into the Hong Kong Convention and Exhibition Centre HKCEC. The number of exhibitors also increased to 50 and was almost 100 in 2012. The main categories of the exhibition have evolved from one (antique-oriented in 2006) into four (antique, contemporary art, modern & impressionist and Jewelry) in just eight years. — This year, there will be a big change in the design of the entire layout. It may be more user friendly to exhibitors, collectors, and the public. More new categories has been added to the fair this year, such as Art & design as a major part of Fine Art Asia this year is 20th Century Designer Furniture, exhibitor Novalis Contemporary Art and Vintage Jewelry, including exhibitors Symbolic and Chase, van Kranendonk Duffels.
— How has Fine Art Asia evolved into one of Asia’s leading art fairs?
— What kind of selections are there this year that make the fair different to previous years?
Photo: Fine Art Asia
TPAG: — What sets it apart from other fairs?
Andy Hei — I believe in quality, not quantity and Asia doesn’t have a similar fair that combines antiques and contemporary art. We are the only one so far and the increasing number of exhibitors, visitors, exhibits and Sales Value prove that a fair with this kind of combination works well in the growing market, China, just like the “The International Asian Art Fair” in the 90’s of America. We are difference from the mainstream fairs else where, so even there are many contemporary art fairs in the same market, you can find only one FAA in Asia. — Antique and art dealing (not junk dealing) has always been a very high-end (class) business, and quality comes first, like the sharpest part of a triangle. From the very beginning, we aimed to create the proper physical platform with the right high class atmosphere at Fine Art Asia, and to concentrate resources on strengthening the position of Hong Kong being an important art market alongside London and New York. There is a growing demand of a formal art event of the dealers from HK, at the same time, more potential young buyers in Asia, especially from the enormous rising market of China, are encouraged to come and join the fair. It makes us becoming an Asian TEFAF – Asia’s “Maastricht” in Hong Kong. — Hong Kong is now the third largest art market by auction sales, with access to over 3 million high net worth individuals in Asia and an increase of wealthy collectors in China and Asia. For the hardware, Hong Kong is equipped with a great infrastructure and a well established financial centre. It is also close to China, a country that overtook the USA for the first time in 2011 to become the largest art and antiques market worldwide. On the other hand, with regards software, Hong Kong is a free market, with a simple and low tax rate, no import or export duty or restrictions on artworks and antiques, value added or sales tax, and no foreign currency control, or censorship. These policies and its business-friendly climate are making Hong Kong the most exciting market for art and antiques in the world. — It is growing into a major art hub of the world market as can be seen from the recent development of two giant auction houses moving a part of their seasonal sales to Hong Kong, plus more international galleries decide opening up in Hong Kong after exploring the Asia’s markets for years and different individual art fairs beside the annual grand one. The status indicates that more resources, such as money, art pieces and related manpower are being concentrated in Asia.
— What do you see the fair growing into?
— What do you think of Hong Kong as an environment for art?
— How important do you think Asia has become in the art world and how will that develop?
TPAG ISSUE 35 —— AUGUST 2012 TPAG ISSUE 33 OCTOBER
MANILA > SINGAPORE
A tale of two cities
Text: Jason Roberts
In recent years the Philippine capital of Manila has seen a major transformation in terms of international recognition of its galleries and artists. But its emergence into an art hub depends on how well it seizes opportunities in the region.
o longer is Manila considered to be a sleepy backwater with little to offer the contemporary art world, as a number of young and exciting Filipino artists wrestling their way onto the regional and increasingly, the international art scenes. The cultural history of the Philippines is both rich and diverse as generations of artists have tried to make sense of their origins and surroundings by drawing on powerful undercurrents from their colonial past, and multicultural identity, facing, at times, grinding poverty with a deep seated religiosity. In today’s Manila, there is a huge pool of talent, nurtured within a first class education structure, and brought on by a tight-knit and sophisticated network of galleries. Their works are being coveted by a mature and dedicated collector base. With their horizons expanding, more and more artists are looking overseas for opportunities to engage in a new
international contemporary dialogue, and Filipino artists have increasingly started to consider art as a vocation. The emergence of regional art champions has certainly facilitated this process, with Singapore leading the way. The island nation has become a dedicated supporter and promoter of regional art, investing significant amounts of time and capital into museums, art events and biennales that have helped to make Filipino artists visible. The new diaspora Filipino artists shone out at both the 2008 and 2011 Singapore Biennales. Ronald Ventura was present in the 2008 Biennale, with his show ‘Mapping the Corporeal’ at the National University of Singapore Museum. He is now an art superstar. Secondly, Louie Cordero, a 34-yearold graduate of the University of the Philippines College of Fine Arts, presented his piece MyWe at the 2011
Biennale, a fiberglass multi-media masterpiece, centered around four figures, graphically and fan-tastically impaled with everything from a screwdriver to a human femur. Both were extraordinary statements by the young artists. The Signature Art Prize, organized by the Singapore Art Museum has also offered opportunities for Filipino art to stand out. Rodel Tapaya took the grand prize in this huge event with his 10ft by 12ft opus Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, numbered but cannot be counted). These three examples are part of a larger theme that seems to be playing out across the region’s critical forums, and starting to be noted in the region’s commercial forums. Nowhere has this been more evident than at international art fairs that have now become a mainstay of the art circuit.
Diving Bell (2011) — Patricia Eustaquio Oil on canvas
MANILA > SINGAPORE
TPAG ISSUE 35 — OCTOBER 2012
Clockwise, from top left: New World — Pow Martinez, oil on canvas Cutting The Beach Trees — Riel Hilario, mixed media Pompous Gathering Of The Broken (2012) — Luis Lorenzana Splitting (After Gordon Matta-Clark) — Annie Cabigting, oil on canvas My We (2011) — Louie Cordero, mixed media
Art Stage Singapore, the annual international event held at the Marina Bay Sands Convention Centre, saw four Manila based galleries attend this year; The Drawing Room, Silverlens, Finale Art File and Pablo Gallery showcased the pick of Manila’s rising and more established stars. Whether it be Riel Hilario at The Drawing Room, Patricia Eustaquio and Luis Lorenzana at Silverlens, Annie Cabigting at Finale Art Final or the exciting prospects of Pow Martinez and Dex Fernandez at Pablo the talent was plain to see. This compares to just one the year before. Recognition revolution Interestingly, Filipino art at the fair was not just limited to local galleries. Two non-Filipino galleries, Galerie Zimmerman Kratochwill from Austria and Wada Gallery from Tokyo showcased Filipino artists. For nonlocal galleries to promote Manila based artists over and above their
respective local talent, the lure of Filipino art must be very strong. So momentum is building and this is not lost on the artists themselves. They are aware of the changing perception of their own artistic capabilities and continue to look for ways to evolve in order to meet the challenges that present themselves. Riel Hilario, a Manila based sculptor, is a case in point. Riel began his artistic career as an assistant to a “santo” or saint maker in the Philippines working with wood to produce beautiful, mystical free standing figurines. When asked about the transformation of his practice in response to changing perceptions, he notes “My practice has indeed changed: where I used to think of my work as a return to traditional woodcarving ethos, I now conceive of possibilities whether this local, folk art that served as my point of departure, can be retooled to speak to the contemporary.”
With this in mind Riel is currently preparing to spend a year away from the Philippines on a series of residencies which will take him to France, the United States and finally Malaysia. Again, as noted above, it is important to recognize, that Riel’s experience is not an isolated one. It is being replicated across Manila as we speak. Scores of talented Manila based artists continue to search for ways to expand their horizons and are meeting with terrific success as a result. Philippine artists have finally started to get the credit that they deserve. It remains to be seen as to whether Manila has the capability to develop into an art destination to rival Singapore or an art producer to rival Indonesia but one thing is for sure, its new found status as a credible force on the international scene is both deserved and inspiring.
TPAG ISSUE 35 — OCTOBER 2012
Breaking the silence
Text: Loredana Paracciani
Is video art a sign language for the disenfranchised? An exhibition at Singapore’s Objectifs Centre for Photography and Filmmaking reveals how video art can be a voice for political and social debate. Can You Hear Me? looks at the work of six video artists from Thailand.
an You Hear Me? is an attempt to bring awareness to the wider public of political, social and cultural issues that are relevant in Thailand today. The title hints at the fact that in Thai history social actions and intervention have at times fallen on deaf ears and that pivotal events tend to be erased from social memory. One of the videos featured in the show, A Ripe Volcano (2011) by Taiki Sakpisit, is a good example of this “historical amnesia”. The video is shot, among other locations, at Rattanakosin Hotel (the Royal Hotel near the Grand Palace), where civilians were captured and tortured during Black May 1992 following an uprising against the government. Tragic as it is, Black May tends to be erased from Thai history and it is often unspoken.
majesté laws (an offence against the reigning sovereign). Thai artist Kamol Phaosavasdi was one of the first to start experimental video practices in the late 90s in alternative spaces and projects that were emerging at that time.
the interest in video art has grown substantially in Thailand, mostly addressed by the younger generation of artists who seem to adopt new media as their preferred language. They are widely exposed to technological advancements, tools such as Facebook, Twitter and smart devices alike, which all facilitate and elicit the use of technology in their artistic practice. Touching upon a variety of cultural and social issues, such as cultural minorities and marginal groups, video art is increasingly incorporated in galleries and educational spaces as a tool for communication. As we speak, there are many video artists and independent filmmakers in Thailand that produce extremely interesting works.
Observation of the Monument (2008) — Michael Shaowanasai
A Ripe Volcano (2011) — Taiki Sakpisit
All images courtesy of the artist
Politics is a thorny subject in Thailand, not only because there have been uprisings, coups and riots but also because these events have not triggered any substantial improvement in time. Adding to this, it is still very dangerous to talk about subject matters that can fall under the lèse
In 1996 the Bangkok Experimental Film Festival (BEFF) was founded by Project 304; subsequently the Thai Short Film and Video Festival was initiated in 1997. These platforms have greatly contributed to open new spaces and avenues for the development of video art in Thailand. Judging by the success of these events
All the artists featured in Can You Hear Me?— with the exception of Michael Shaowanasai—belong to the generation born in the 1970s and 80s. They all have worked extensively in Thailand and internationally, developing a new Thai artists’ community. Political subjects are still approached by this younger generation but in an oblique way,
TPAG ISSUE 35 — OCTOBER 2012
Planking (2012) — Chulayarnnon Siriphol
that is, their works relate to political events, and the general apathy of Thai citizens, by portraying historical memories detached from social activism. The reason I have selected these six artists for Can You Hear Me? is that I feel each of the works has the capacity to interact with one another, creating a net of visual as well as conceptual communication. Each video is unique. Each one is shot in a different format—more or less polished, accidental or staged— though they all contain stories relevant to the actual social and political situation in Thailand. For instance the video Shooting Stars (2010) by Sutthirat Supaparinya is a documentation of the riots in May 2010. However, instead of focusing on the actual battlefield the director chooses to catch the sound of bulletshells dropping to the floor combined with the visual recording of street lights, which in the video morph poetically into celestial constellations.
Man and Gravity (2008) — Jakrawal Nikthamrong
As a language for Southeast Asia, video art could develop into a visual lingua franca as it breaks the silence. In Singapore video artists and independent filmmakers are increasingly exploring the potentials of video art. Artists like Ho Tzu Nyen and Ming Wong are the most successful examples. With their works selected for the Singapore Pavilion in two different editions of the Venice Biennale—sadly an event of the past since Singapore has withdrawn its participation on this major art platform—these artists have greatly contributed to the development and experimentation of video art. Though I feel there is still ground to cover, as there are many great young artists busy making art and thus opening more possibilities for the future. Unlike other Southeast Asian countries Singapore’s art scene receives great financial support by the government . Museums, institutional and private spaces, artists’ residencies and, in recent years, its own biennale have greatly helped to
develop and encourage the Singapore art scene. In Thailand artists do not receive any form of governmental support; hence they usually struggle in producing and maintaining their art practice. Often they have two or more jobs, but that does not seem to inhibit their creativity. On the contrary Thai Art is very dynamic, creative and often conceptually sophisticated. Craft is often successfully combined with high art, generating artworks that are easily accessible by the wider audience yet retaining strong cultural connotations. Hopefully there will be ways to explore more artistic collaborations between Singapore and Thailand and the Southeast Asian region at large.
Distinction (2011) — Tulapop Saenjaroen
Shooting Stars (2010) — Sutthirat Supaparinya
Can You Hear Me? Features six emerging and established artists from Thailand: Jakrawal Nikthamrong, Tulapop Saenjaroen, Taiki Sakpisit, Michael Shaowanasai, Chulayarnnon Siriphol and Sutthirat Supaparinya.
All images courtesy of the artist
Objecitfs Center of Photography and Film 56A Arab Street, Singapore November 22nd - December 21st, 2012 Numthong Gallery 72/3 Aree 5, Bangkok February 9th - March 9th, 2013
TPAG ISSUE 35 — OCTOBER 2012
Passion and power of the brush
Text: Remo Notarianni
Chinese artist Fang Zhaoling’s passion for art has transcended time to be appreciated by a new generation of art lovers. Alisan Fine Arts will showcase Fang’s work at Fine Art Asia 2012.
ong Kong-based gallery Alisan Fine Arts will present 25 paintings and calligraphies (dated 1978-1998) by Fang Zhaoling at Fine Art Asia 2012. It is the first solo exhibition of Fang’s work in which her paintings will be for sale since she passed away in 2006. Her story is one of a passion for art that has driven her career though tumultuous times.
While the raw beauty and the vitality of nature is evident in the work, the images are inspired by her personal journey and travels across China; but there is also the mark of hardship and upheaval. Fang married Fang Xiagao, who was the eldest son of General Fang Shuping, in 1938. They met
Fang was born in 1914 into a cultured and scholarly family in the city of Wuxi in China’s Jiangsu Province. Driven by an early passion for art and Chinese calligraphy, she embarked on studies, including bird and flower painting under Chen Jiucun and landscape painting under Qian Songyan (18991985) at Wuxi Art College; but as a student of Zhao Shao’ang (1905-1998), a leading proponent of the second Stonehenge in Blue Green (1982) generation of the Lingnan chinese ink & colour on paper, 67 x 67.5 cm School, Fang’s work broke ground in the 1950s and 1960s, and when she was studying Modern she studied under luminaries such as European History at the University Zhang Daqian (1899-1983), viewed of Manchester in the UK but in the by many as the greatest 20th century period from 1939 to 1947, the war Chinese ink painter, Wu Changshuo years negatively impacted her work. (1844-1927) and Qi Baishi (1863In 1939, the couple left the UK for 1957) in varied styles characterised America and spent time in Shanghai by strength, vigour, and masterful before returning to Hong Kong. In skill. 1941, when the Japanese occupied
Hong Kong, the family (then with six children) found refuge in Guilin, Guiyang, Chongqing, Tianjin and Shanghai and this made it impossible for Fang to paint for a decade. In 1950, they returned to Hong Kong where her husband died suddenly, leaving eight young children. She took over her husband’s export / import business and singlehandedly brought up her eight children steering them towards successful careers. The eldest daughter is Anson Chan, who, before 1997, was Hong Kong’s highest ranking government official of Chinese heritage and, who, after the handover, became the Chief Secretary for Administration of the 1st HKSAR Government.) But no matter how difficult life was, Fang never gave up painting and this passion pervades her work. Beyond the beauty of the brush strokes, there is also an expression of the pain of national tragedy and the loss of her husband, as well as the love of her country, teachers, friends and children. Since 1951, Fang’s work was showcased in exhibitions around the world every year, totaling more than 50 exhibitions.
Pine Trees on Huang Shan, Blue and Green Landscape (1997) chinese ink & colour on paper, 97 x 59 cm
From left to right: Calligraphy (1978) Landscape February 1997 (1997) chinese ink & colour on paper Three Horses & Eight Figures (1996) chinese ink & colour on paper
She became inter-nationally acclaimed and received worldwide recognition for her works. Her paintings are in the collections of famous museums such as the Asian Art Museum of San Francisco, USA; British Museum, London, UK; Shanghai Art Museum, China; Hong Kong Museum of Art, Fung Ping Shan Museum University of Hong Kong, Hong Kong. There are also numerous catalogues of her works. In 1988, she was awarded the Grand Prize “Zhongshan Cup” of the “International Chinese Ink Exhibition in Beijing”. In 1992, she was named the Painter of the Year 1991 by the
Hong Kong Artists Guild. In 1994 she received the Honorary Degree in Literature from the University of Hong Kong, in 1997 an Honorary Professorship at Shanghai Jiaotung University and in 1998 received an Honorary Doctorate Degree from Soka University, Tokyo, Japan. In 2000, she was awarded the highest honor by Tokyo Fuji Art Museum, Japan and in 2003, was awarded the Bronze Bauhinia Star by the HKSAR government. Alisan Fine Arts has been promoting her works since 1999, and the artist had a long-standing relationship with
Alice King, gallery director, and her family. The artist was a friend of King’s father, the shipping magnate CY Tung (1912-1982) who she recalled with fondness: “During the 1970s in England, I met Mr Tung 5 to 6 times on different occasions. When I was in Hong Kong and London, Mr Tung often sent me tickets to concerts and exhibitions..”
(The World of CY Tung edited by Alice King & Prof Zheng Hui Xin [Hong Kong: Chinese University Press, 2004, page 432])
TPAG ISSUE 35 — OCTOBER 2012
The art of taking fun seriously
Text: Remo Notarianni
The Affordable Art Fair (AAF) made its Singapore debut in 2010. It remains one of few events in the Lion City to offer art buying in a fun environment.
Clockwise from top left: Spira (2011) — Chris Wood dichroic glass and light, 115 x 115 x 4cm New Born (2011) — Liu Fei oil on canvas, 100 x 80cm Village Snow (2008) — Fu Qiang oil on canvas, 65 x 81cm Sky is Dark (2011) — Yang Peng oil on canvas, 150 x 145cm Thank You (2012) — Hazel Nicholls screenprint, 27.5 x 30cm, edition of 100
fun fair selling serious art might sound like a contradiction, but the Affordable Art Fair really is serious fun when it comes to buying high quality art at reasonable prices. In that sense, the Fair succeeds at realizing the dream of its founder Will Ramsay, who has strived to make contemporary art, once the preserve of an exclusive group, accessible and affordable. Artist and businessman Ramsay founded the first Affordable Art Fair in London in 1999, partly out of frustration at art galleries that seem to alienate buyers with a ‘stuffy’
attitude and ‘elitist’ ambience. It has since become a global phenomenon, with annual events in, among other places, New York and Rome as well as Singapore. The 2012 AAF Singapore event is held again at the F1 Pit Building in Marina South, and it has grown on an increasingly positive response from artists, galleries and collectors across the region, prompting organisers to extend the Fair from three to four days. The Fair space will increase in size by 1000 square metres to 4,000
square metres and it is expected to attract more than 15,000 visitors and bringing in $3.5 million. But no matter where it might be, the Fair remains true to its mission of diversity and quality, offering a range of contemporary artworks. Artist from Asia, Australia and Europe, in a range from abstract to figurative, including paintings, sculptures and photography will be offered, ranging in price from S$100 to S$10,000, with 75 per cent of the work under S$7,500.
Come Join Me! (2011) — Ridwan Nur acrylic on canvas, 140 x 120cm
Clockwise from top left: Milkshakes Welkom (2009) — Richard Heeps photography, 76 x 94cm, edition of 25 Doors (2012) — Osborn Lin photography, giclee print, 70 x 100cm Stones, that were pearls (2011) — Dagmar Butler oil on canvas, 90 x 150cm River Panda (2002) — Fred Gowland oil on canvas, 63 x 61cm Skating Rink (2010) — Willy Rojas photography, 40 x 60cm, edition of 100
This year sensations such as Japanese artist Yayoi Kusama will be showcased alongside local talent Justin Lee and rising star Ang Sookoon. A ‘Young Talent’ contest bolsters the Fair’s mission to nurture artists under the age of 25 years old. There will also be fun and educational workshops for all the family including printmaking demonstrations by Art & Printmaking Studio, and art talks from renowned experts at Art Equity and a Children’s Art Studio run by Art Boot Camp, offering a full schedule of activities for children aged 4 to 12.
Adding to the congeniality and culture is a bespoke bar & lounge space for private hire. Food and beverages will also be offered at a Restaurant and Café space run by Michel Lu’s Argentum Group. “We are delighted to be back for a third year with a fresh programme, new initiatives and a bigger space and more galleries”. Said Camilla Hewitson, Affordable Art Fair Singapore’s Fair Director, “Affordable Art Fair provides artists with the opportunity to showcase the very best of what they’re doing to an audience
who might not necessarily have come into contact with their work. “For visitors, it is an opportunity to discover art, ask questions and learn about art in a relaxed and informal environment ultimately inspiring them with confidence to make a purchase that is meaningful to them. Affordable Art Fair brings a new generation of collectors to the market breaking down the barriers for new buyers and in so doing initiates an important change to the Singapore art market”.
The Affordable Art Fair, Singapore Venue: F1 Pit Building (1 Republic Boulevard) Dates: Thursday 15 – Sunday 18 November 2012
Doppelganger (Pink Rocinante) — Michael Joo, 2009-2012
TPAG ISSUE 35 — OCTOBER 2012
Pressing the issues
Text: Gladys Teo
rare exhibition of Han Tao’s work titled “Here They Come”, which ran in August, 2012 at Singapore’s Sunjin Galleries, showcased unique woodcut prints in a wide repertoire, focusing on two historical incidents: photo-graphed prisoner abuse by American military guards at Abu
crime was to desire freedom and an end to corruption, and we wince at mangled heaps of naked Iraqi prisoners as they are attacked by dogs, beaten and sodomised by guards. These images and photographs are not new to us. Through countless media channels, we heard of the plight and suffering of the victims of Abu Ghraib and Tian’anmen Square. But did we really feel that the suffering is ours? Not when the images focus on the apathy of the American soldiers, and the indifference of the Chinese military guards; media-wrapped images that distance us from the event by making it nothing other than “news”. Their very mass production and ubiquity make the reality of suffering into a commodity that dehumanizes and distorts.
Chinese artist Han Tao’s foray into politicallyoriented art could be seen as an artistic embrace of humanity. His expressive candour changes the way we see history and he is not afraid to broach explosive and controversial topics.
Abu Ghraib No.4 (2005), 210 x 150cm
Abu Ghraib No.2 (2005), 205 x 145cm
Ghraib prison in Iraq in 2004 and the Tian’anmen Square protest of 1989 in China. Han’s woodcut works are more than documents. They are daring and truthful representations of his indignation at the physical and psychological violations that have left an indelible mark on the mind of humanity. Han works with painting, film, performance art, and installation; and he experiments with different mediums to convey his ideas and express his thoughts. Through his unnerving and austere compositions, history comes alive as we gaze upon the massacre of students in Tian’anmen Square, whose only
Heat (2004), 210 x 145cm
illusion that has less to do with pictorial perception than it does with feeling and introspection – a testament to art’s ability to help you understand a subject at a sublime level that takes you deeper into a subject.
Han’s images Han achieves this aim establish a through his choice of visceral sense of woodblock etching and identification with printing. The minimal use the victims, of colours arising from the whose suffering pressed woodblock we are compelled medium has a powerful to internalize. The effect in transforming the Heat (Dog)(2005), 195 x 100cm images can do mood of the composition things that a news into one that is confrontphotograph cannot do: make the ational and grim. Bloodshed and invisible visible. His creations have violence that we associate with the the power to generate a kind of colour red is emphasized as intended
Clockwise from top left: Abu Ghraib No.1 (2005), 205 x 148cm Abu Ghraib No.5 (2005), 210 x 150cm Tian An Men 1989 (2005), 205 x 145cm
splashes of crimson contrasting against the black fills and lines. The use of abrupt, violent dashes create a sense of imbalance and staccato: it renders us even more uneasy and nervous. Most of all, we can identify with the simple motifs that Han uses to communicate his message. We recognise the image of the detainee wearing a ragged cloak, head covered by bag and his arms outstretched in a terrible parody of Jesus’ suffering which has come to symbolise how the dream of liberation and selfdetermination of many Iraqis has dissolved into a nightmare of occupation and violence. We recognize the oversized tanks that have a constant reappearance in the Tian’anmen Square series as heartless, soulless machines that were manouevered to crush the human spirit and hopes of freedom. Our instinct is to shrink from that snarling dog, from that machine gun, from that leash, from that bullet.
Han’s creations are imbued with the power that an individual might get from art. Yet this is juxtaposed against the powerless of the very same individual. Can one individual change the course of history, a history that was brought about by the power and violence of others? The power of the artist to change people’s perceptions and ideas could be enough to change history itself.
TPAG ISSUE 35 — OCTOBER 2012
Retracing the steps
Text: Richard Chua
In Malaysian choreographer Jack Kek’s dance piece titled Adam and Eve,we follow the gaze of the biblical character Eve as she sculpts the body of Adam. There is another element that makes this special: theaudience is watching the sculpting process in “real-time”.
n a fleeting moment, it seems that the initial attraction has been established and what ensues are two bodies coming together in unison, executing dance moves that unite male and female. Taking the female dancer’s gaze as a depature for a piece of writing on dance likens the man’s movements to pushing chairs aside for the frail woman in Pina Bausch’s Café Muller. The act of clearing indicates both an intention to explore and to love (clearing the dangers for the beloved), not to mention sculpting chaotic female emotions in times of extreme loneliness. Not so much a re-telling of the biblical story, Kek’s Adam and Eve is a reorganisation of vignettes of Bausch’s dance theatre genre. What matters in this piece of work is the choreographer Kek’s own intention and language that either complements, augments, or subverts the form, content, and aesthetics of Bausch’s dance theatre. Attempts to do so in themselves pose a huge challenge. The literature for and against it abound, but there are many different ways of “breaking” it. What’s interesting about the piece is the sculptural form it creates that manipulates the audience’s gaze on the lines and curves of the bodies. The intention of Kek’s Adam and
Eve might not be to break ground, but to tease out the beauty of dance theatre and introduce it to the Malaysian audience, to whom the understanding of the concept of dance theatre might be limited. The gaze of dancer Hoi’s Eve towards Kek’s Adam not only exhibits love and seduction but also an acute awareness of their sense of identity, as created by the creator (Hoi as Eve, and Kek as Adam can also be studied separately).
them, the audience’s gaze was also present. Their understanding of the power dynamics between the male and the female dancer could offer an objective view of the definition of bodies on stage. Clearly, both Adam and Eve are trapped in their own world which seems to be under surveillance. The red apple presented in the form of red helmets, as interpreted by choreographer Kek, is a trapping device for both of them. As the biblical lovers attempt to ride away in a motorbike, kissing passionately, they encounter resistance. Metaphorically, the use of the helmet is apt and poignant. What makes an interesting discovery is when they mutually smell each other: and smelling becomes an act of exploration and sculpting that couples the act of seeing and gazing into each other. The politics within the bodies are at one with the politics of the relationship between “to look” and “to be looked upon”. The gaze could be read on different levels. The Gestalt Theory of Psychology explains it all; an adage in the 1920s that holds true till this day: People often perceive similar objects as a whole, as a group/pattern. If anything falls out of the norm,
Dance of Eden In every part of the dance piece, from the time both of them get acquainted, to the time they get married, to the time they decide on revisiting the dating process the encompassing gazes are directed at each other, but encounter resistance. The resistance might be about the rules they are required to abide by in their world (or, to us, society), it might also be about their bodies. Little known to
audiences will sense the difference and due attention will be given to them; they are called anomalies1. If we were to apply this to the audience’s perception of bodies as sculptures in a dance performance, it would be interesting to note how the audience might perceive the bodies in flight as symbols, making a semiotic connection with the biblical story. Living sculptures What makes Adam and Eve interesting is Kek’s strengthening of the spiritual aspects of the relationship. It is the hurt and happiness that defines the symbol of Adam and Eve. Hoi’s hurt is perhaps one of the most haunting that a female body can manifest. Her rendition of the struggle of a woman wanting to free herself from the restraints of not being able to love provides a good direct reference to male-patriarchal naivety and oppression. It is credited to her extreme effort in body-centeredness in terms of technique.
For the technique largely accounts for the gravity of her dance section, allowing audiences to appreciate her emotive flow from the feet up – thus likened to a Renoir sculpture. Hence what requires further study here is how “real-time” is defined in the theatre. Is it the time when the bodies were gazing at each other, or the extension of “gazing” to the audiences? Meanings abound, semiotics aplenty, signs notwithstanding, what’s interesting is that dance performances have already moved out of the realm of showcasing technicalities into postmodern experimentation. In this day and age, with the onslaught of the internet, YouTube-like realities, analysis in the temporal aspects and structures have taken on a new dimension. Exploration into the different intrinsic differences of body movements – maybe in the language of sculptures – can be further carried out. It could
give a valuable insight into the nature of time in the performing arts. In conclusion, with all the problematics that the gazes of Adam and Eve give to each other in the piece, and putting the reflexivity and struggles in fulfilling their desires aside, is it possible for Adam and Eve (it might be a good reference point for all the male and female bodies in this world) to break free from the gazes between the dancers and the audience? Perhaps, taking an alternative view through the lens of theories relating to appreciating sculpture could open up new perspectives that help expand the knowledge of how sculpture and performance art related to the human form.
Notes (1) “The Gestalt Principles.” 15 September 2012. http://graphicdesign.spokanefalls.edu/tutorials/process/gestaltprinciples/gestaltprinc.htm.
TANJONG PAGAR, CHINATOWN & RAFFLES PLACE
1 iPreciation, The Fullerton Hotel DreamSpace Art Studio Utterly Art Galerie Sogan & Art Yong Gallery Art Commune Gallery Indigo Blue Art Art Club Singapore Galerie Belvedere Galerie Steph Ikkan Art International ReDot Fine Art Gallery Valentine Willie Fine Art Richard Koh Fine Art Art Xchange Gallery Ken Crystals Viridian Art House 80 Gallery - Song Nian Art Gallery 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
SINGAPORE ART MUSEUM AREA
1 2 3 4 5 6 7 8 9 10 11 12 13 14 The Substation Art Plural Gallery Art Trove Yavuz Fine Art The Private Museum M Gallery Forest Rain Gallery Sculpture Square Art Galleries @ NAFA The Luxe Art Museum Yisulang Art Gallery Art Gallery 3 Art Seasons Gallery Mulan Gallery
ESPLANADE & MARINA BAY SANDS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 Ode To Art Opera Gallery Art Science Museum The Asian Civilisations Museum The Arts House Ode To Art Chan Hampe Galleries Artfolio Cape of Good Hope Art Gallery Art-2 Gallery Y2Arts Gajah Gallery Tembusu Art Gallery ArtXchange Gallery
Art Trove Gallery
51 Waterloo Street #02-01/2/3 Singapore 187969 T: +65 6336 0915 F: +65 6336 9975 E: email@example.com www.art-trove.com Opening Hours Wed – Sun: 11am to 6.30pm Call for private viewing
1 Pop and Contemporary Fine Art 2 Gallery Reis 3 Art Space @ Scotts 4 Opera Gallery 5 Heng Artland 6 M.A.D Museum of Art & Design 7 Vue Privée
Sunjin Galleries Taksu
1 The Gallery of Gnani Arts 2 Bruno Gallery 3 Boon’s Pottery 4 HaKaren Art Gallery
5 Lion City Art Gallery 6 Yang Gallery
ART DIRECTORIES A C G L
TPAG ISSUE 35 — OCTOBER 2012
56/57 Singapore Galleries 58 Art Auctioneers Art Schools Art Services Artist Studios 59 Museum + Art Venues Hong Kong Galleries Europe and the US Art Fairs 64 TPAG Classifieds
Art Seasons Gallery
1 Selegie Road PoMo #02-21/24 Singapore 188306 +65 6741 6366 firstname.lastname@example.org www.artseasonsgallery.com Mon – Sat: 11am to 7pm Sun: 1pm to 6pm
43 Jalan Merah Saga #03-62 Work Loft@Chip Bee Singapore 278115 +65 6738 2317 email@example.com www.sunjingalleries.com.sg Tue – Fri: 11am to 7pm Sat: 11am to 6pm
The Art Club Singapore
98B Duxton Road Singapore 089542 +65 9838 2353 (Daniel)
Closed on Public Holidays or by appointment only
Cape of Good Hope Art Gallery
140 Hill Street #01-06 MICA Building Singapore 179369 +65 6733 3822 firstname.lastname@example.org www.capeofgoodhope.com.sg Daily: 11am to 7pm
The Gallery of Gnani Arts
Tanglin Shopping Centre 19 Tanglin Road #01-17 Singapore 247909 +65 6735 3550 email@example.com www.gnaniarts.com Mon to Sat: 10am – 7pm Sun: 10am to 6pm
Lion City Art Gallery
19 Tanglin Road #02-07 Tanglin Shopping Centre Singapore 247909 +65 6733 0289
firstname.lastname@example.org Facebook: Lion City Art Gallery
+65 8128 8661 (Marcus)
Mon – Sat: 11am to 6.30pm Sunday: 1pm to 5pm
By appointment only
ARTXCHANGE Gallery 7Adam
7 Adam Park Singapore 289926 +65 6463 0777 email@example.com www.7adam.com Open Daily: 11am to 8pm 6 Eu Tong Sen Street #02-65 The Central Singapore 059817 +65 9027 3997 firstname.lastname@example.org www.artxchangegallery.com Mon – Sat: 11am to 9pm
Yong Gallery Calligraphy and Woodcarving
260 South Bridge Road Singapore 058809 Tel /Fax: +65 6226 1718 Hp: +65 9786 6916
80 Gallery – Song Nian Art Gallery
80 South Bridge Road #01-01 Singapore 058710 +65 6438 4481 email@example.com www.80gallery.org Tue – Sat: 12 pm to 6.30 pm Sun: 12pm to 5 pm
Closed on Mondays & Public Holidays
Forest Rain Gallery
261 Waterloo Street #02-43/44 Singapore 180261 +65 6336 0926 firstname.lastname@example.org www.forestraingallery.com Mon – Fri: 10am to 6pm Sat: 10am to 4pm
Sunday and Public holidays by appointment only
Impress Galleries Pte Ltd
1 Kim Seng Promende #02-07/08 Greatworld City Singapore 237994. +65 6736 2966 / 6440 4533 email@example.com www.impressgalleries.com 10.30am - 9.30pm daily
Minut Init Studio Galleria
Third Floor 29B Jalan SS 21/37 Uptown Damansara Utama 43700 Petaling Jaya, Selangor +60 1 9697 8897
Daily: 10am to 7pm
Art Gallery 3
231 Bain Street #02-89 Bras Basah Complex Singapore 180231 +65 6333 4283 firstname.lastname@example.org Mon – Sat: 11am to 7pm Sun – Public Holidays: 12pm to 6pm
91 Tanglin Road #01-02A Tanglin Place Singapore 247918 +65 6836 3978 www.boonspottery.com Daily: 11am to 6pm
Closed on Public Holidays
Mon – Fri: 5pm to 9pm
Or by appointment
ART DIRECTORIES ART AUCTIONEERS
Christie’s Hong Kong Limited 22/F Alexandra House 18 Chater Road, Central Hong Kong Sotheby’s Singapore Pte Ltd 1 Cuscaden Road Regent Hotel Singapore Singapore 249715 Larasati 30 Bideford Road #03-02 Thong Sia Building Singapore 229922 Florenz 10 Changi South Street 1 Singapore 486788 +65 65464133 email@example.com www.florenz.com.sg Mon – Thur: 8.30am to 5.45pm Fri: 8.30am to 5.30pm Sat: 8.30am to 12.30pm
Closed on Sundays
TPAG ISSUE 35 — OCTOBER 2012
MUSEUMS + ART VENUES
Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street
HONG KONG GALLERIES
Belgravia Gallery 12/F Silver Fortune Plaza 1 Wellington Street Central, Hong Kong Ben Brown Arts 301 Pedder Building 12 Pedder Street Central, Hong Kong Cat Street Gallery 222 Hollywood Road Sheung Wan Hong Kong Edouard Malingue Gallery First floor, 8 Queen's Road Central, Hong Kong Sin Sin 53-54 Sai Street Central, Hong Kong Schoeni Art Gallery 21-31 Old Bailey Street Central, Hong Kong
AXA Art Asia Hong Kong +852 2161 0000 firstname.lastname@example.org Singapore +65 6880 4957 email@example.com China +8621 6156 3500 firstname.lastname@example.org www.axa-art.com Providing tailor-made solutions to private and corporations, museum, galleries and exhibitions; coverage for paintings and sculptures, rare books, wine and other collectibles.
Leo Hee Tong Block 173, Bishan St 13, #05-105 Singapore 570173 +65 6258 8787 + 65 9794 6511 email@example.com Studio 404 91 Lorong J Telok Kurau Road Singapore 425985
Liu Xuanqi Art Studio Goodman Arts Centre 90 Goodman Road Block B #04-08 Singapore 439053 +65 9168 7785 firstname.lastname@example.org Opens daily: 9am to 6pm
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
EUROPE AND THE US
Flo Peters Gallery Chilehaus C, Pumpen 8 20095 Hamburg Germany +49 40 3037 4686 email@example.com www.flopetersgallery.com Galerie Christian Lethert Antwerpener Strasse 4 D - 50672 Köln (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
Lasalle 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St Art Schools School of the Arts Singapore (SOTA) 1 Zubir Said Drive Singapore 227968 The Singapore Tyler Print Institute 41 Robertson Quay
Florenz specialises in glass art of all disciplines and processes ranging from traditional stained glass, blown work, kiln forming, sandcarving and engraving.
Agility Fine Arts +65 65000250 firstname.lastname@example.org www.agilitylogistics.com - Recommended Art Handler & Freight Forwarder for ArtStage 2012 - Climate-controlled Fine Art Bonded Storage Facility - Museum-standard Specialized Art installation, packing & logistics
Helu-Trans (S) Pte Ltd 39 Keppel Road, #02-04/05 Tanjong Pagar Distripark Singapore 089065 +65 6225 5448 email@example.com www.helutrans.com • Storage Solutions • Art Handling & Shipping • Artspace Rental • Project Management
Leslie Goh Strangers' Reunion 37 Kampong Bahru Road Singapore 169356 + 65 9681 1418 firstname.lastname@example.org www.lesliegoh.com.sg 9am-10pm daily except Tue Please call for appointments/enquiries
Urich Lau Wai-Yuen Goodman Arts Centre 90 Goodman Road Block B #04-07 Singapore 439053 +65 9682 7214 email@example.com By appointment only
Sculpture Square 155 Middle Road Singapore 188977 MICA Building 140 Hill Street Singapore 179369 Telok Kurau Studios 91 Lorong J Telok Kurau Singapore 425985
Damina Gallery 1406 Oceanic Centre 2 Lee Lok Street Ap Lei Chau Hong Kong +852 9575 6439 firstname.lastname@example.org www.damina-gallery.com By appointment only Gagosian Gallery 7/F Pedder Building 12 Pedder Street Central, Hong Kong Para/Site Art Space G/F, 4 Po Yan Street, Sheung Wan, Hong Kong
Lim Leong Seng Studio 107 91 Lorong J Telok Kurau Road Singapore 425985 +65 9738 2792 email@example.com www.limleongseng.com.sg By appointment only Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B #03-14 Singapore 439053 +65 9151 3227 firstname.lastname@example.org By appointment only Fine Art Asia 2012 (Hong Kong) 4 – 7 Oct 2012 www.fineartasia.com Affordable Art Fair (Singapore) 17 – 20 November 2012 www.affordableartfair.sg India Art Fair (New Delhi) 1 – 3 February 2013 www.indiaartfair.in
Times Insurance Consultants is a specialist in providing comprehensive insurance policies to cover a wide spectrum of art objects including paintings and sculptures, collectible wines, antiques, rare books, jewelleries and more. Contact: Ms Sally Lee +852 9095 6316
Lotus Fine Arts Logistics (S) Pte Ltd 6 Lok Yang Way Singapore 628625 +65 6266 7660 www.lotus-art.com • Packing & Crating • Installation & Transportation • Project Management • Climate controlled Storage • Insurance
Puerta Roja Private Latin Art Space Shop A, G/F Wai Yue Building 15 – 17 New Street Sheung Wan, Hong Kong +852 2803 0332 email@example.com www.puerta-roja.com By appointment only
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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 www.thepocketartsguide.com 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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Terms and conditions: 1. Subscription fee is non-refundable. 2. Subscription will start the following month after receipt of payment. 3. TPAG is available on first week of the month. Please allow 1 week for delivery. TPAG cannot be held liable for postal delay.
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