-y Cri",{

Gold Plated Bra". S rainless S red and Rice

75 x S3 x 103 em. (29 '/, x 20 '10" 40' 'j, in.) Executed in 20'0'7-20'0'9. this work is from on edition of 3 HKS120,OOO-160,OOO (USll15,400-20,5(0)

Hong .Kong Auctions, Autumn 2010 26 November - 2 December

29 November

10:30am Southeast Asian Modern and Contemporary Art



25 - 28 November

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at Dharmawangsa,

G/F, JI Dharmawangsa VIII Kebayoran Baru

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Letter from

the Editor

Asian Art' and 'Contemporaneity' are issues that have evoked serious thought for some time. This is evident in the various conferences and panels held recently in the same period of time. In both the Asian Editors' Conferences in Taipei (Au-

gust 201 0) and Busan (September 2010), that I attended, for instance, the issue

of a diversified Asian Art W<lS a major, if not the main topic. But a panel of museum direc-

tors brought together by the renowned Hou Hanru at Sh Contemporary Art Fair in Shanghai revealed that Western art institutions in particular still need to work on their understanding of Asian art to start building up their Asian, including Southeast Asian, art collection, as reported by KaiMei Wang. In their discussion, Southeast Asian art was a minor point, though the exhibition on Indonesian contemporary art at MoCA at the time could have been a good source. Victoria l.u, the creative director of Today Art Museum in Beijing, illuminates the subject eloquently in her essay on the Diversified Face of Indonesian Contemporary Art in the current C·Arts vol urne, where she di scusses the distinct contrast between cu ltures of the East and the West and could have benefited the panel's discussion had she been part of it. Contemporary, Contemporanei ty, what do these terms entai I? The panel on Contemporanei ty he Id at MoCA in relation to the Indonesian exhibition curated by Jim Supangkat and Biljana Ciric, was an effort to explain, but, as Tony Godfrey reports, it threw little light on the matter.

Meanwhile, one could say that the contemporary in fact emerges in any given period of time. In Jakarta this occurred in the 1960s when the visionary president inspired the early monuments of the new republic. A book review on Edhi Sunsrso, Artis Peiueng (Edhi Sunarso, the Patriot Artist) contains a wealth of information, says Carla B ianpoen.

In the last decade, collecting art has become the new intellectual pursuit of many young upwardly mobile professionals and business executives. (·Arts magazine and Indonesia TaUer are joining hands to discover where art and new ways of life meet. To discover whether art is indeed part of the current lifestyle or not, (-Arts is starting a new column where young and upcoming col. lectors will be featured. A profile of Plaza Toyota Direcror Paula Dewiyanti in this volume reveals a dominating element of passion in addition to, perhaps, a contemporary I ifestyle,

In this volume, socio-political, gender and digital manipulation issues are dealt with in exhibitions reviews from Singapore by lola Lenzi, Kuala. Lumpur by Simon Soon, Melbourne by lames Donald and Brussels by Rathsaran Sireekan.

Happy Reading

Haryanlo Gunawan Publisher/Chief Editor

P,RMIT: MICA (PI 171111120007 ISS>!: T 7~l·5547

All rights reserved. No pan or this pubhcancn mOlY be reproduced} stored in a retrieval system, or transrnrned, in any rorm Of by any means, electron lc, mechen i COl L phutocopvjng, record i ng or otherwtse, without the prior 1M men perm iss ion or rhe CQPYl lgh towner.

The .... iew5 (:I1l1(i oplnlons expressed OJ implied ~1l1 (-Arts are those 01 the authors or connlbutors and de not necessarav reflect those of C-A'~ MaS03:;;:;~n€, lte direct'Ors OJ editorkl~ starr. The maga:;;:;~n€ is not responslbte {or the advertlstng content OT unsollclted manuscripts 'Or ph010Wap'hS_ C-Ai15 welcomes conmbustcns. in rho form 01 ar(idos al~d OS!>aY:!i, with photos included. Ol~ iS$uOS al~d lopics rotated 10 As.iatl COfI rcmporasv an.

C·A!I1s M8gazfne bi-monthly is published 6 Iirues a yea~ by United! Unlvers PtlbHs.ll~ng Pte. Ltd. Singapore.


tmOlil: ~nro@"CrOl~Snlag,COm Website: http://~'Ifl/LIW,c.artsmilg,com



Rise Under The Pe~<;h. detail of work by

EKO N UGROHO for the entire building of MoCA Sh.ngh.i (July-Auqust 20101. medium; vinyl sticker


Volume. 16! October - November 20 10



Corrternporaneity Now. How do we talk about it?


Young Collectors:

Paula Dewlyanti: Fashion or Passion


letter from the Editor 2


- Collecting Asia Art What, When and How 10

- Contemporaneity Now, How do we talk 14

about it?

- Contemporaneity: 20

The Diversified Face of Indonesian

Contemporary Art

Young Collectors - Paula Dewiyanti:

Fashion or Passion?



- The Indonesian Pavilion at World Expo 2010



- Taylor Momsen's Secret Sex with a Green 36

Fat Toxic Cancer Tumor


- Art and politics in Singapore: 44

Beyond LKY at VWFA



Contemporaneity: The Diversified Face of Indonesian Contemporary Art

- Tags & Treats 50

Works by Vincent Leow

- High Seas of Resistance 56

- Pat Brassington: 66

Exploring Object Identity

- Growing NOT against the grain: 70

in search of the female identity in wood


~ Tim Lee at Usson Gallery 76

Book Review - Edhi $unarso

In the Shadows of History

Emerging Artists

- Agus Yulianto, Darbotz,

Arie Oyanto, Farid Stevy Asta, Iwan Effendi - lswanto Hartono

- Guntur Timur

Arts Agenda




Growingl NOT .gainst the grain: in search of the female identity in wood sculpture


88 90



Book Review:

Edhi Sunarso In the Shadows of History





Southeast Asian Modern & Contemporary Art Monday, 29 November 2010, lOam

Important Southeast Asian Classical and Post-Independenc.e

T h, is ,seaso~" Chr"i,stie'S, P,' r,ese,nts C.' 'Olle.C,t,O,rs With, th, e, e~Citi,ng-, opporturuty to acquire two exceedingly rare and highly

desirable works from prominent masters of the late 19th and early 20'" century, Raden Sarief Bastaman Saleh, (circa 1810 - 1880) known as the Delacroix of the East and hailed as the father of modern Indonesian painting, and Russian-born German artist Walter Spies (1895 - 1942). Wounded Lion (HKD$6,000,000 - 8,000,000 I US$770,000 - 1,025,000) is a superbly executed work. It shows Raden Saleh's genius and versatility in depicting dramatic genre scenes and subjects full of energy and tragic emotion as inspired by European Romanticism. Bearing influences from dramatic-realist artists such as Delacroix, Gericault and Goya, Wounded Lion combines Raden Saleh's intimate knowledge of native subjects and verdant tropical landscapes with his formidable technique in European aesthetics. As a result of being the first Western-trained Javanese painter, he also became the first indigenous artist to express a high degree of visual fluencyi n the oil medium, paving the way for the flourishing of art in the 20'h century.

In contrast, Walter Spies arrived in Indonesia in 1923 011 the cusp of European modernism, bringing with him an aesthetic style influenced by modernist ph i I osophy, early fi I m and Russian folk art In 1927,

Spies moved to Bali and discovered at last his spiritual home for the next fifteen years. At the height of this halcyon period, he painted Balinese Legend (Estimate all request), a transcendental work in which the mystical essence of Bali as perceived by Spies is distilled into an undercurrent of dramatic tension and joyous vibrancy.

Christie's is also pleased to present Conversation (HK$1,170,000

- 1,560,000 I US$150,000 - 200,000) by Indonesian modern master, Hendra Gunawan (1918 -1983) During Indonesia's troubled rise to independence in the mid 20th century, Gunawan became a guerrilla fighter and participated in the struggle for freedom alongside his countrymen. Conversation depicts a guerrilla fighter engaging a woman

in impassioned dialogue within a Village marketplace. The subtext to this iconic work is an insistent call to allow Indonesians to fully govern their own lives, and no matter how impoverished their personal circumstances.

Leading Contemporary Works from the Stars of Southeast Asia

"Narration is as important as the paintings themselves. I can narrate, but it resonates differently through the act of painting.


RADEN SALEH. Wounded Lion. oil on canvas. 90 x 112 em


WALTER SPIES. Balinese Legend, 1929. oil on canvas, 81'.5 x 66.5 em

{HK$780,000 - 1,404,000/ US$100,000 - 180,000} from I Nyoman Masriadi (b. 1973) who con sta ntlyi nte rrogates and redefines the world around him through wittily satirical works. Trombone depicts a smartly dressed fi.gure leaning out of the window of a Rolls,Royce, gleefully playing a trombone. At fi rst glance, his narcissi stic attitude appears to personify the pun "blowing your own horn". Upon careful

inspection of the text however, the reality of

the scene becomes apparent. In fact the stern, faced lady in the front seat is the true hoi der of personal power, as she harshly reprimands the supposed protagonist "Bisakah karnu main setelah kita sarnpail I Can you play after we've arrived!", to which he responds humbly "Yes Mam ... ".

This ingenious scene portraying the complexities interpersonal relationships exemplifies Masriadi's incisive ability to search beneath the skin of contemporary society. Another outstanding contemporary artist with a very different visual appeal is Handiwirman Saputra, represented here

through Membayang (Imagining) (HK$800,000, 1,200,000 IUS$l 00,000 " 150,000). Saputra's art takes an instinctive

and subtle form through almost tactile representations of

three-d i me ns iona I objects si mp I ified to th e i r ba rest essences. In an interview with Eni.n Supriyanto, the artist observes: "l paint to make use of the established status of painting 10 invite people to appreciate objects. I envision myself creating object art which I then package as paintings. BUl during the process of transferring objects to painting, there are surprises. For example, sponge or cotton can eventually resemble some other, comptetely different objects. This leads to the unexpected in my work which I cannot a n ticipe Ie even myself. ff

Sometimes I forget the stories, and have to contemplate deeply to remember. Why do I have

to paint to fulfill my narrative? That's just the way it is."

- I Nyoman Masriadi

Highlighting the contemporary section is Trombone


I NYOMAN MASRIADI. Trombone, 2010, acrylic on canvas, 200 x 300 em


HANDIWIRMAN $APUTRA, Membayang (Imagining)', 2006, acrylic on canvas, 290 x 290 crrt overall

Yang Hilang (H K$150,000 - 200,00 ° I US $19, 2 30 - 25,641) revea Is Mantofani's artistic vision which challenges visual perspective through the most minimal of forms, creating a sleekly elegant

op tical co nu ndrum. In co nlrast, Luxury Crime (H K $120,000

- -160,000 I US$-15,400 - 20,500) by Agus Suwage reveals yet another progressive layer within this respected artist's introspective and self-referential methodology: an uncannily prescient memenlO mori or shocking visual. reminder of his own mortality. These works by fou r very different artists exernp I ify the best in cu rrent Southeast Asian contemporary art practise and indicate the careful curation behind the entire selection of contemporary works, within Christie's fall season.!!!

Completing the selection of exciting contemporary works are two striking sculptures by Rudi Mantofani and Agus Suwage. Nada



Co lecting Asia Art:

What, When and How



Full view of conference

ThiS year's Shanghai Contemporary Art FaiJ kicked off with

the best that Shanghai can offer: numerous elegant exhibit openings and exquisite private viewings with world class artists mingling with art crowds from every corner of the world. Therefore it is not surprising that a conference on collecting Asian Contemporary art at the ShContemporary 2010 was able to attract some of the most influential people in the art world today as keynote speakers.

The conference was organized by internationally renowned curator and art critic Hou Hanru. The panel consisted of museum directors from China, some regional art museums and several international museums and private collectors. Among the audience were many gallery owners

10 OCTOBER. NOVEMBER 2010 I :~Arts

from China and overseas, curators and several notable collectors like Oeddy Kusuma and Dr. Oei Hong Djien from Indonesia. There were also young Chinese professionals who had just joined the club of collecting contemporary art. The future of collecting Asian contemporary art for public collections and private collections was discussed in the context

of China, Asia and the West. The questions asked were clear and simple: collecting Asian Art What, When and How?

Representing China were two museum directors: Wang Huangsheng, from the government run public museum and Zhang Zikang, the director of Today Art Museum in Beijing, the first private and nonprofit museum in China, Wang's experience with public museums

started when he was the director of Guangdong Art Museum where he was one of the key figures behind the first Guangzhou Triennial in 2002. 111 many ways, this first Guangzhou Triennial clarified the development of contemporary art in China. since its beginnings in the early 1980s and showcased im portant art works of many key artists, such as Ai Weiwei's Ming Furniture and Xu Bing's New English Calligraphy. For Guangdong Art Museum, the Triennial started its first important collection of Ch i nese contemporary art However, Wang expressed his dismay at the lack of economic support and the lack of freedom in the museu rn's acq uisitions that restrains collecting all but the ideologically correct contemporary

a rt in the state-run museums of Chi na.

The same guidelines also apply to the private museums in China. Unlike the private museums in the West run by private boards of trustees, a Chinese private museum i.s still under the guardianship

of a public authority. The fact that the collecting of Chinese contemporary art was first initiated by overseas private collectors and later recognized by museums and institutions in the West

has had both a positive and a negative influence oncollecting contemporary art in China. Wang Huangsheng was worried that the state-owned museum will be unable to acquire representative works from major artists to build up a complete Chinese contemporary

art collection with high art historical value for future research because of exorbitant prices, whilst Zhang Zikang hoped that the foreign institutions would push for the reform of the Chinese cultural institutions into a. more open and democratic environment.

Many tal k a bout what comes next after the buzz of Chinese contemporary art and attention is now moving to Southeast Asia.

The region's vibrant art scene is likewise overshadowed by the lack

of public institutions, resources and commitment. Since the 1980s,

The Singapore Art Museum has made its core mission collecting. documenting and presenting Southeast Asian art and has the world's largest collection of Southeast Asian art today. Tan Boon Hui ,

the director of the Singapore Art Museum, presented to the conference participants some of the museum's recently acquired art works from the region, for example Singapore artist Jane Lee's monumental tapestry made of thick swathes of paints that blurs the boundaries between painting, textile and sculpture; Philippine artist Wire Tuazon's painting that tells the country's colonial history with text and images in a pop art style.

Unlike the Chinese museums which are very concerned about building the collection for acaderni c research, Singapore Art Museum's collection is very much about general

publicinterest and "what is popular at this moment in time". The predominate role of the auction houses in the Asian art scene has affected both the artists' practices and the museum operation. Tan Boon Hui pointed out that Singapore Art Museum wants to work with the market but aims at providing the artists in the region with a more stable healthy milieu to grow in.

The head of Asian and Pacifica Art at Queensland Art Gallery Australia, Suhanya Raffel presented its collecting model which is based on the Gallery's major recurring exhibition, Asian Pacific Triennial. Founded in 1993, ATP is the only major series of exhibitions in the world to focus exclusively on the contemporary art of Asia,

the Pacific and Australia. Collecting through the triennial pushes the Gallery to reconsider the complex relationships between audiences, contemporary practice and regional specificities,

Three speakers from the major international museums presented the public collection in the Western context: Kathy Harbreich, deputy director of MOMA in New York; Alexandra Munroe, sen ior curator

on Asian art at Solomon Guggenheim Museum ill New York and Frances Morris, head of collections for international art at Tate Modern in London. Museums like these have had a long history of collecting art works that are based on theoretical research on important art movements, profound research on individual artists and they function as historical witnesses of art practice and progress, but inevitably focus on the history of Western European and North American art.

In the last two decades with the dynamic development of Asian contemporary art, a II three museums have implemented policies to build up their Asian art collection. The reorganizatlon of Asian art as part of the international contemporary art history by these


Frances Morris, Tate


Kathy Hal breich, Morna


• • •

.... QandA

powerful Western cultural institutes marks a radical shift in Western perspectives, from the linear narratives to multiple off-centered stories that operated in what Homi Bhabha defined as "The Third Space"

. MOMA New York organized long-term curatorial workshops with curators outside Europe and America and had them involved in museum's exhibitions and educational projects. Their Asian curators have helped form an Asian collection containing over 1000 art works.

Guggenheim museum was the first Western art museum to build

an Asian art curatorial team in 2005. Through integration with the museum's own collections, Guggenheim has organized several full-scale exhibitions around the Asian theme. This includes retrospectives of Cal Guoqiang, Anish Kapoor and an exhibition that traced the influence of Asian art and philosophy on the American artists. The museum has made it a priority to collect directly from these exhibitions.

Since 2000 Tate Modern has been systematically broadening the geographical remit of its international collection and the collections are no longer based on geographical difference. In 2007, Tate launched

an initiative to acquire art from the Asia Pacific Region for the first

time. The acquisitions are not based on commissioned works, a model many other museums apply, but more as a response to the museum's research and also a response to the museum's earlier collections ..

For example art 'WOrks by Japanese artist Susumu Koshimizu's works that emphasize the materiality of object from Mono-Ha school are presented together with the museum's own collection of Robert Morris, whose object-based works likewise presents the process of time.

All three museums agreed that for Western cultural institutions to start collecting Asian art, they need to bear in mind the immense

12 OCTOBER. NOVEM BER 2010 I ~Art.

size of the continent, the diversity of culture, history, religion and political backgrounds, Indeed there is no one Asian art, nor is there a u niversal standard for quality controli n art acquisition, perhaps, a common recognition based on understanding of each others' cultural context could help to make sense of a solid collection.

The story of Uli Sigg and his collection of Chinese contemporary art is well known .. As a Swiss businessman who came to China at the

end of the 1970s, buying from the young and poor artists he met among his studio visits in the outskirts of Beijing was a way for Sigg to get access to China's reality. WilJl over 2000 Chinese contemporary art works of various mediums, Sigg is the biggest private collector of Chinese contemporary art in the world.

He has built up a complete and systematic collection with art works that have significant

cultural and historical values by major Chinese artists. When asked by Hou Hanru the future of his collection. Sigg replied that it was

important that his collection go back to China someday so that the Chinese people could see their own contemporary art.

A nearly full-day conference ended with audience questions to the panel. The most interesting question from the audience was actually from Indonesian collector, Deddy Kusurna. In a. day-long conference about collecting Asian art, Indonesian art was hardly mentioned by

the powerful Western art institutions. Deddy kusuma's irritation and disappointment was obvious. When he raised the question about when museums like MOMA and Guggenheim will start to collect art from Indonesia, Alexandra Munroe could only respond with an attempt at wit "donations are always welcome."

Perhaps it was not just a flippant excuse. Working with major collectors is a common practicein these museums and of course many of the world's important museums were based on private donations. Art collectors

and museums should both carry the flag of sharing the knowledge in

a global perspective. Certainly there is not one standard rule or model

on collecting art and collecting Asian art. Amid market speculation and thriving economies, Asian museums are striving for professionalism, government funding and public support. Western art institutions are shifting their Euro-American centered perspective in approaching Asian art, but they still have to work on their understand: ng of Asia and bui Id up an Asian art collection within the context of a Western art institution. A conference like this offered a platform for such integration and communication. In Shanghai today, these could be the clearest messages of the conference on collecting Asian Art~

Kaimei Wang has an MA in Contemporary Art form Sotheby's Institute of Art Singapore

jl. drupadi 8Bb basangkasa, seminyak, bali, indonesia, t. +62 361 736 628 f. +62 361 736 629,



Contemporaneity Now, ow do we talk about it?

14 OCTOBER. NOVEMBER 2010 1 :~Arts

Tony Godfrey

Near the close of the exhibition of

con.temp. crary IndO. ne.sian a. rt at the M. useurn of Contemporary Art In Shanghai there was

a seminar on the title and avowed theme of

the show: "Contemporaneity". The intention was that this should be a relaxed and informal conversation, a forum

for ideas and debate. With this in mind there were, apart from four speakers giving papers, six artists and three critics (myself, Shanghai based Zhao Chuan and based Carol Lu) available in response. But as three of the papers were read out and somewhat extended and then doubly extended by being then translated there was little time left over, 50 all the artists save Arahamainai, who had her own slot in the timetable, were confined to a rushed 10 minute slot at the end of the day, whilst myself and the other two critics were never able to contribute more than a couple of br i ef questi ens.

As most of us know all too well, conferences can be invigorating or they can be frustrating. Normally they are a bit of both, and th i s one was no exception. Normally one

is frustrated because the ideas that emerge in the course of the day go undiscussed: the timetable of papers that have to be delivered won't allow it. This was no exception. What is invigorating are the informal conversations after the eventnormally over food or drink. Again this was no exception.

The Shanghai based co-curator Biljana Ciric opened proceedings by talking of how the Chinese art world was far too obsessed with itself and how there should be far more shows like this that looked at the art of neighboring countries. For her this was the start of a project of getting to know the art of Southeast Asia .. Her interest was above all in the artists as individuals. Biljana Ciric was also intrigued by the similarities and differences: China and

I ndones i a both had except iona II y poor state su pport fo r the arts, but whereas China was dependant on collectors from outside, the collectors of Indonesian art came from

~ ENTANG WIHARSO Your Threat 8S My Pleasure - Comic Book Series # 2, 2009 AI um un i um cut out

Why the question was raised should one choose Indonesia a s the country to di scu ss contemporaneity. Why not Singapore? ltis much more up-to-date, much more international. She told us that the co-curator Jim Supangkat had been the one who had proposed this title for the exhibition and that he would be addressing this question in

his presentation. The presentation he read out was an adapted version of his catalog essay, in which he praised Terry Smith's discussion of contemporaneity in his book What is Contemporary Art? Supangkat suggested there was a space between "world contemporary art" and "global contemporary art" (terms

that refer to a view of art dominated by Western notions of unlversalism=-e.g. all "real" art is Western-and a view of art as being determined by the markets which occur throughout many regions) where we could discuss globalization, the increasing inequities in the world and the infoscape of the new digital

world that now surrounds us. In this context the problematic of the 1989 exhibition Magiciens de la Terre returns: how to make exhibitions where the ethnic and the traditional can be shown alongside the "avant-garde"?

within its OWl1 frontiers. However, she claimed this

was not a show about art and the market: she was more interested in alternative spaces and in art that has some socia I commitment


From left to right: Hallam Chow, Biljere Cine. Jim Supenqket, Prof. Wang Dagen, Ahmad 'Mashadi

was placed in Irian and Javanese Angki Purbandono was in Kalimintan.. Java and Bali, where all the artists actually work, were hidden by the chairs of the two curators. The map was a lie:

Indonesian art represents almost exclusively the three rnain towns of Java; Irian, Kalimantan remain voiceless, Why? I am sure that the poster was created by some graphic designer and the curators never had a say in it, but I never had the chance to ask. My mind was turning again and again to the question, "Why Indonesia

as a site for contemporaneity"?-and finding some interesting


Arahrnaiani talked of the project she wanted to do with people in Yushu, Tibet She had gone there and she showed us slides

Zhao Chuan asked him why, when he talked about the importance and films of buildings that had collapsed in the earthquake there,

of exhibiting ethnic arts, there was so little in this exhibition that of children and of rnonks-"l always get on with monks" she

appeared specifically Indonesian. Supangkat agreed there was claimed. The Chinese artist Li Mu who had been employed to

little sign of either tradition or ethnic art, but that perhaps Garin act as her helper was called to the podium. He talked of how

Nugruho's Opera Java (a film where a story from the Ramayana is they had problems working together: "this is my proJect, not our

retold through Javanese dance and music), was one work in the project" she had shouted at him once, but this had been resolved.

show that was about tradition. However it was interesting that "This has," he said, "been the most important journey of my life,

just like Heri Dono had, Nugruho had been accused of exoticism thank you." However a backer was needed to fund the actual

because of this work-rather like Chinese artists had been accused project.

of over-playing the China card.

At this point Samuel Kung, director of the museum, felt it

Personally, by now I was getting increasingly irritated by the necessary to interrupt the proceedings to te I, I, us that artists had

map behind the speakers and which had been used as the poster no special right to criticize the government, they should do their

and advert for the exhibition. The names of the artists included research properly and that the proper authorities were handling

in the exhibition were written across the islands of Indonesia the crisis. He went on to also say that the flags Araharnaiani had

in a variety of type sizes, so, for example, Bal lnese Pinter Sirait wanted to show in the exhibition had been impounded by the

~M"s I OCTOBER - NOVEMBE'R 2010 I 15


GAR I N NUG ROHO, Opera Java, 2006, 120'


Chinese customs not because of censorship but because of an administrative issue. Everyone in the audience was very quiet, a Chinese writer I had been talking to passed me a piece of paper with the words "this is very scary" written on it

So why did a project about China belong in a. discussion about Indonesia? Because at the heart of the word "contemporaneity" are not characteristics-how Indonesian is Indonesian art-but problems and issues: the relation between State and the individual, censorship and free speech, Capitalism and the social. These are all issues especially germane to art and best discussed or embodied there. Had I had an opportunity to talk further I would have quoted from Tony ludt's new book 11/ Fares the Land:

"Something is profoundly wrong with the way we live today. For thirty years we have made a virtue out of the pursuit of material self, interest: indeed, this very pursuit now constitutes whatever remains of our sense of collective purpose .. We know what things cost but have no idea what they are worth. We no longer ask of a judicial ruling or a legislative act: Is it good? ls it fair? Is it just? Is it right? Will it help bring about a better society or a better world? Those used to be the political questions, even if they invited no easy answers. We must learn once again to pose them. The materialistic and selfish quality

of contemporary life is not inherent in the human condition. Much

of what appears "natural" today dates from the 1980s: the obsession with wealth creation, the cult of privatization and the private sector, the growing disparities of rich and poor. And above all, the rhetoric that accompanies these: uncritical admiration for unfettered markets, disdain for the public sector, the delusion of endless growth. We cannot go on living like this."

< u o :;:

16 OCTOBER. NOVEM BER 2010 1 ~Art.

~ Visual Arts

Judt is a historia n who writes primarily a bout European post-war history and who now is in the grip of a devastating degenerative disease. In this, presumably his last book, he addresses a specifically English and American audience and calls for a return to social democracy. The same issues in different guises face China and Indonesia. Perhaps such a cry from the heart as ludt'sis not far from Supangkats', But sadly,

the extent to which the actual works in the exhibition addressed such issues remained undiscussed at the symposium. The timetable and the exigencies of translation were our masters.

Ahmad Mashadi in his paper directed attention to how writers such as S u pangkat an d Patrick Flores h ad created an art history for Southeast Asia. It was important to consider modernism and the contemporary not as a \/I,Iestern hegemony but, as 5upangkat demanded, as multi-modernities. His paper was as he claimed, to some extent a lament for the contemporary and how that term had become 50 over-used as a branding term by the market.

(By this point many of the I ndonesians attending the seminar

and whose Garuda tlight had been delayed by over four hours had entered the land of Nod-i .e. had fallen asleep. Perhaps they fou n d it stra nge that a d iscu ssion about I ndonesia an d contemporaneity was held in Engl ish and Mandarin without a word of Bahasa.)

18 OCTOBER. NOVEM BER 2010 I ~Art.


WIMO AMBALA BAYANG, Hope, 20M, series of 3 photographs, 120x 120 em

Professor Wang Dagen from Shanghai National University now read out a disquisition on the difference between modernism and contemporary art. He showed slides with such pithy statements as "Mr. Jim argues: modern art has something different from contemporary art. Modern art moves towards abstract art,

while contemporary art keeps on concerning about daily life

and reflecting pragmatism." But the audience had thinned dramatically by this point. The sound of an Indonesian dinner being prepared in the adjoining cafe was too distracting.

Eventually Wimo Bayang, Entang \lViharso and Tromarama were invited to show slides of their work but very quickly as time had run outl One thing must be said: that these Indonesian artists treated this all with a good humor and politeness that artists from few other countries would have done.

To conclude: there were important ideas and issues raised but we had too little opportunity to discuss them: more forums I.i ke this are needed![~

Tony Godfrey is Director of IV1A in Contemporary Art Sothebys Institute Singapore. His most recent book Painting Today was published in November 2009 by Phaidon Press

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19 November ~ 18 December 2010




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Sygolls brings 10 mind the word 01 "Seagull-: /0 fly beyOnd the conventIOnal orl ven~.

Holle om Wosser lnvolldensfrosse 50 - 51, 1 0557 Ber.lin Tel: +493036726930 Fox: +4930367269330 www ..



The Diversified Face of Indonesian Contemporary Art

Victoria Lu

I ,"A" ... WI.tural C.01lCep.t? 0. r i." rnerelv a "" designation?

Can Asia be seen as a collective proper noun representing certain shared qualities? Or is it simply the name of a location on the globe? We could pursue such a discussion endlessly and still never reach a concluslon.

However, when we lock at Asia within the global context of the present-and in particular, if we compare the diverse cultures of East Asia, which have followed divergent paths for so long, with the more singular culture of modernization shared by Western nations-, we find a distinct contrast between the cultures of the East and the West.

If we group together all the regions of Asia-from Western Asia, Central Asia, and China to East Asia, Southeast Asia, and South Asia, as well as the islands of the Pacific Ocean-, we come

up with iI.n area that encompasses nearly three-quarters of the


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20 OCTOBER. NOVEMBER 2010 t :~Arts

world's population. Although the West is as ethnically and linguistically diverse as Asia, it is a region that was unified through religron, having been the site of the development of Christianity for two thousand years. Moreover, after three hundred years of industrialization and modernization, Western societies have been brought increasingly closer together to form a largely shared culture of Western modern ity.

In Asia, on the other hand, the existence of diverse traditional cultures is still common. Industrialization

and modernization have only recently taken hold. Consequently, the differences among the ways of life of people within each region of Asia-and even within each of its countries-c-are still great. Even though the present moment is one in which globalization is universally proclaimed, the cultural divisions within Asia remains an indisputable fact.

In general, Asian contemporary art is viewed solely through Western eyes. Hence, most "international" curators choose to exhibit only those Asian artworks that share something

in common with Western modernism; it is only those works that are given entry to the stage of global contemporary art. The upheavals in art of the last century have been seen

as a revolutionary "avant-garde" movement that pushed forward and struggled to break from history to negate the past. Therefore Orientalisrn has been seen as a negative phenomenon, as



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~M"s I OCTOBER - NOVEMBE'R 2010 21

it inevitably involves overlooking practices that perpetuate traditional cu lture, the developmen t of which has rernai ned un broken for centuries, The "past" is also a part of the "present", Strictly speaking, everything that is happening in Asia Il0W should be seen as part of "contemporary" Asia. All of the types of art produced within the plural cultural systems that exist within contemporary Asia are forms of "contemporary art"; contemporary art is not just art that sha res commonalities with that of the West Even though trad i tion and modernity cannot necessarily be said to be flourishing because of one another within the contemporary Asian cultural context, there has never been any antagonism between the two, nor has one ever superseded the other, At the very least, they can be said simply to have co-existed for a long time. In this way, contemporary Asia is completely different from the West, whose modernist movement during the last century sought to overturn both history and tradition.

Organized concurrently with the 2010 Shanghai World Expo, the Museum of Contemporary Art Shanghai. held a large exhibition

of Indonesian contemporary art between July 22 and August 19,

2010. The exhibition was one of the important cultural activities organized to commemorate the sixtieth anniversary of the establishment of diplomatic relations between China and lndonesla. "Contemporaneity: lndonesian Contemporary Art," curated by Jim Supangkat and Biljana Ciric, presented works that revealed the unique ethnic, religious, and cultural diversity of lndonesian contemporary art, The works also reflected the current state of the complex dialog between Indonesian contemporary art and Asian art in general, The

curators attempted to show how some Indonesian contemporary art art. In fact, this trait is something shared by contemporary art

has developed outside of the expectations of the Western art system throughout Asia. For Chinese viewers, Conternporanelty: Indonesian

They chose works that revealed how Indonesian contemporary art Contemporary Art served as a. form of self-reflection on art by one

confuses the boundaries between modern and contemporary art member of Asian contemporaneity. The exhibition also provided an

This is an art that lies outside the development of mainstream Western important opportunity to discover and study Southeast Asian culture ..


MANGU PUTRA. Penar>tian, 2009, oil on canvas, 200 x 200 em (2 panel)


CHUSIN SETLADIKARA, Self. 2008, oil on canvas, 200 x 140 em

22 OCTOBER. NOVEM BER 2010 I ~Art.

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CHUSIN SETIADIKARA. Daily, 2010, oil & charcoal on ca nvas, 200 x 140cm


CHUSIN SETIADIKARA. Memory, 2008, oil & charco. I a ncanvss. 200 x 140 cm


CHUSIN SETIADIKARA. People, 2010, oil & charcoal on ca nvas, 200 x 140cm

The curators invited more than twenty influential artists of various generations to participate in Contemporaneity: Indonesian Contemporary Art Through their paintings, photographs, videos, scu I ptures and installations, these artists provi ded a narrative of the diverse contern porary conditions and aesthetic va I ues of Indonesia,


MANGU PUTRA, Police Line S, 2010, oil on linen, 200 x 200 em

Choosing Jim Supangkat, who launched the Indonesian "New

Art Movement" in 1975, to be the main curator was an important move, ln thel970s, Supangkat advocated the redefinition of art

and the pursuit of a subversive vision of Indonesian culture. The debates he opened continued for 10 years; today, the New Art Movement has come to be seen as the beginning of the dialog on Indonesian contemporary art Although Indonesian intellectuals' investigations and comparisons of both local and Western art could not guarantee that they would find the ultimate response to their concerns, their activities opened a more objective examination

of culture, In the clamorous conditions of the globalized present, such objective examination is necessary in assuring the individual cultural sovereignty of each nation in Asia, for it serves to balance the subjective and self-important perception of Asia held by Westerners since the colonial era.

Indonesia's indigenous folk cultures and its complex reli.gious history have probably shaped its art more profoundly than has its politics. Arguing from a perspective rooted in his native linguistic system

and local historical processes, Indonesian curator Jim Supangkat has repeatedly contended that the diversity of Indonesian contemporary art differs greatly from mainstream Western art. Biljana Ciric. the exhibition's second curator, provides a different perspective 011 the subject. Having lived in Shanghai for many years, her fluency in Chinese has allowed her to serve often as an intermediary between the East and the West Her perspective is one that embraces the mainstream global system of international biennial exhibitions.

~M"s I OCTOBER - NOVEMBE'R 2010 21

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I NYOMAN MASRIADI. Negotiation. 2008. oil on canvas. 300 x 200 em

From a point of view that might be described as "conceptual postcolonialism," even though she may look for exotic Asian societal phenomena influenced by politics, Ciricis no different from many other curators from Western societies. In the exhibition catalog, her viewpoint was very evident. All works of purely visual or formal interest were passed over in the curators' dialog, asis typical in the international biennial art world.

VVestern modernist abstraction had little effect on Indonesian art. ln the second half of the twentieth century, Indonesian contemporary art followed its own independent course of development, as has largely been true of other countries throughout Asia. Indeed, the concrete expressive power of Indonesian contemporary art is not dependent

on the intluence of \/I,Iestern cui lure; rather, it has taken strength from Indonesia's folk beliefs and customs, as well as Indonesia's tradition

of exquisite artisanal skill. An interestin representing precisely both the great and the minute has long had a profound influence on the narrative tendencies of Indonesian trad itional art. Th i s interest has continued to develop to this day. Attention to the finest details of narrative style, as well as the exten sive use of metaphoric symbols, can be found in Indonesian contemporary artworks of all media, from

24 OCTOBER. NOVEM BER 2010 I ~Art.

painting to video. These two tendencies have invisibly intensified the theatrical tension inherent in the content of Indonesian artists' works. For example, in their artworks, Nasirun, Entang Wiharso, and Pintor Sirait seem to use expressive techniques and visual vocabularies belonging to different generations or different cultures; even in their choice of mediums they differ greatly. However, these three artists share an ability to observe, depict, and treat fine details-a skill inherited from their natal culture.

This ability to represent both the great and the minute can also be seen in some of contemporary Indonesian realist paintings. On the one hand, such attention to detail, is, of course, due to the influence Social Realism related to the academic art training. But the use of these especially concrete narrative techniques is not only the result

a creative choice by the artist; it is also something dictated by the expectations and aesthetic predilections held by typical members of Indonesian society. Such works share almost nothing with Western modernism. The paintings and multi-media works of Mangu Putra, Chusin Setiadikara, and Budi kustarto are all perfect examples. Even the sculptures and multi-media installations of Agus Suwage and Iornpet Kuswidananto give a sense of the great value that Indonesian

Ccu r tesy of the Artls t

ARise Under The P""ch work by EKO NUGROHO for the entire building of MoCA Shanghai (July-August 20101. medium: vinyl sticker

artists place on fine details when devising the narrative content of their works. These works also show the artists' impressive ability

to exploit expressive theatrical tension. All of this is intimately connected to the traditional arts and crafts of lndonesia. Combining recent animation and comic culture with traditional folk images

and texts that have been transformed into symbols, the local style

of uniting narrative texts and images are visible in the works of I Nyoman Masriadi and Eko Nugroho touching upon the power of

livi ng grassroots cu lture.

The winding course of the history of the establishment of Indonesia, its experience of being colonized, its complicated linguistic environment, its melting pot of imported religions and local popular beliefs-these have all served to create a rich contextual foundation for Indonesian contemporary art and have nurtured lndonesia's unique environment of ritualized culture, The impact of such factors 011 Indonesian contemporary art has far surpassed pol itical changes. In this respect, Indonesian contemporary art is completely different from that of China, which because of the great influence of pol iti cs, has largely followed

a unified path of development since the 1950s. Looking at Indonesian contemporary art solely with an eye toward politics inevitably gives

short shrift to Indonesia's innate cultural diversity, something that political power can never shake. One might say that within the international art world, I ndonesia stands at the forefront of all Southeast Asian nations. The reasons for this certainly cannot be treated fully

in these few paragraphs, but its further development is something to which we can all very much look forward.

Contemporaneity: Indonesian Contemporary Art is a special exhibition that highlights the representative aspects of Indonesian culture to present the unique aesthetic experience of Indonesia. Following the path of Pluralism, the exhibition will trans-examine the artistic styles of antiquity and modemity, of native and international origin, thereby opening up comparison and conversation between the deep echoes of Indonesian cultural history and the new voices of international contemporary art.l~

Victoria Lu is the creative director of Today Art Museum, Beijing, China,

~M"s I OCTOBER - NOVEMBE'R 2010 25




Chinese Art Awards 2010 will focus on the mediums of painting, drawing', photography and video art

Atradition of arts sponsorships and strong commitment to nurturing young artists and musicians lies at the heart of Societe Generale (SG),s values as a global "art bank", SOs deep engagement in the arts has seen the bank build up

a contemporary art collection comprising over 1,000 works (including painting, sculpture, photography and lithography), some of which are displayed at its Paris headquarters (www.collectionsodetegenerale.corru.

Indeed SG, a lead i ng European bank founded in 1864, believes in truly engaging artists and the arts community in its strive as a citizen

26 OCTOBER. NOVEMBER 2010 I :~Arts

bank to finance sustainable growth globally, while contributing to the development of talents in contemporary art, classical music and sports. An extension of these efforts is the SG Chi nese Art Awards 2010, its first contemporary art award aimed at identifying young emerging artists in Greater China,

laurent Tison, Head of Communications, Asia Pacific, says, "We aim to select the most promising young contemporary Chinese artists, those with an inspiring art diary and the biggest potential on the international art scene" This talent identification could not

be achieved without our renowned jury members, all bringing a wealth of multicultural experience in all art fields."

"The Art Award reinforces our philosophy of not only focusing on high brow works and worldrenowned artists, or sponsoring art events with the sole intention of raising the bank's profile. We genuinely want to build intimate relationships between our clients, the artists.and the art community and contribute to the long-term development of contemporary art talents i.n Greater China,"

With SG's presence across 83 countries, the nominated artists will be provided with an unparalleled platform to showcase their talents and expand their networks.

Elaine Ng, publisher and editor of ArtAsiaPacific and a. jury member,

says, "Chinese contemporary art has made international news

head lines, parti cu larly for high pri ces paid for certain artists' work

at art fairs and auctions. SG's Chinese Art Awards, however, will be a welcomed boost to promising young artists by celebrating their talent, vision and creativity rather than simply observing a monetary market value."

Xing Danwen, also a jury member and a contemporary artist in photography and new media whose works are collected by important museums worldwide, adds, "The SG Chinese Art Awards are a good opportunity that encourages young artists to exert themselves in creating art works. Nowadays, people are facing a less-than-favorable environment for creating art works. This award can help rectify the attitude of artists and help talents to be discovered and recognized by the public,"


Chinese Art Awards 2010 will locus on the mediums 01 painting, dra,wing, photography and video art

Works of the 20 finalists or such will be exhibited at renowned galleries and art spaces in various cities in Asia, including Beijing, Hong Kong and Taipei, in Paris and potentially in Shanghai, Singapore and Tokyo.

Contemporary artist and Associate Professor Qiu Zhijie of the China Academy of Art in Hangzhou, who is also a jury member, adds, "The key success of this award is that it has very professional and dedicated jury members coming from different countries. I wish more Chinese young artist can take the chance and display their works in public,

"I believe that the collaboration of art and banking will become a trend in the future as a way of supporting more emerging artists,"

Like the young contemporary artists that it aims to seek out, the SG Chi nese Art Awards 201 ° will make its mark for its refreshi ng and unconventional approach:~

The Chinese Art Awards 20W will focus on the mediums of painting, drawing, photography as well as video art. Participants will have

a month (unless extended by jury) to submit their entries through

the website www.sgchineseart.corn. Apart from scoring by jury

members, the public will also be able to cast their votes through the Press Contact:

website, The first two prizes (€15,OOO and €7,OOO respectively around Societe Generale

US$19,000 and US$9,OOO) will be selected by the jury with the third Laurent Tison - SG Chinese Art Awards Director

prize (€7,OOO) to be chosen by public online votes. Tel -t- 852 21664166



Paula Dewiyanti:

Fashion or Passion?

Carla Bianpoen

28 OCTOBER. NOVEMBER 2010 I :~Arts

While. hig.h-end a .. uction houses like Christies

and Philip de Puryin

the U.S. have been catering to young collectors to compensate for declining markets, in Indonesia young collectors are carving their own way into the serious business of collecting quality contemporary art. One such collector is Paula Dewiyanti.

Young (b. 1973), charmi ng and elegantl y dressed, Paula Dewiyanti is the typical youthful urbanista of today's Jakarta. She admits to loving the good things in life and of course likes to shop in malls and boutiques, but unlike other urbanistas of her age, what s he loves, above all, is to look at art, contemporary art that is.

"I have always loved all things beautiful', she says and going to exhibitions with her collector mother, used to be a joy, until she grew up and started to form her own opinion about which and what painting was beautiful in her own eyes. She did

not always agree with what her mother purchased, and it was then that she made up her mind: one day she would buy art that she herself Ii ked. But the fi rst painti ng she purchased was still something that her mother would have bought: a painting of a beautiful landscape by a Vietnamese artist.

Her path 10 contemporary art was one of the hardest in her art-lover's life, bu t once she had arrived, it was like a revelation that was ail-encompassing, something similar to the experience of the great Russian collector Sergei I. Shchukin who initially did not like Picasso's work, but once he saw the light,

he could not live without it anymore

It started with an exhibition of an artist and being hardly able 10 grasp the reason

Unlike the general habit to

first like a work and only

then get interested in the

artist, Pau la says sh e has to

like til e artist Ii rst: his or her aestheti c, character, con cept and integrity; the works should be groundbreaking and display strong creativity. Only then would she look at the art work and select what she likes best. In general. she likes complex works, those one does not easily understand, those that

challenge or that can take

her to a world of imagination; or she might find something in the work that tells about life or the behavior of people, or that ca ptures the sign s of civi I i zation. ng herself with art is

for the art being deserving of a show. Instead of letting it

go, she dug deeper; browsing the Internet, reading catalogs and books, doing everything possible to open her III ind and vision.

Paula Dewlyantils of a unique breed of collectors, she does not take anything for granted.

Paula Dewiyenti with Cei Guo Giang:




AY T JOE CHRISTINE, 3,,2 #05, 2010, oil on canvas, 170 x 20Dcm

for her an intellectual pursuit and stimulation that opens up the mind. "But it is also a means of escape", she says, to release the ten sion and th e stress that dai Iy life bri ngs.


P a u I a Dewi ya nti with Tr a cey Em in r Lo ndon I 2009

~M"s I OCTOBER - NOVEMBE'R 2010 I 29





.3 Paula Dewiyanti started collecting contemporary

~ art some four years ago. She has about 40 works ~ .?i


RONALD VENTURA. Zoomanmes Gathefing Group IV with 6 sculptures mex ht 31 em


RO N"A LD VE NTU RA. Enchantment. 201 O. oj I on ea nvas, 122 x 154 em

30 OCTOBER. NOVEM BER 2010 I ~Art.

of indonesian artists in her collection. works by


Ay Tjoe Christine, an artist she likes for her depth

.?i of soul. Handiwirman Saputra for his complicated


"0 aesthetics, lornpet and Eko Nugroho for their

r ability to evoke the surreal arid a universal

.3 meaning in their locally rooted works, Wimo

Ambala Bayang for his imaginative photography. She has also works by Filipino artist Ronald Ventura for his imaginative creativity and hiw works with various media. Of the greats in the art world, she loves Ief Koons and Anish Kapoor for the suspense in their works, admires Cai Guo Qiang, Takasihi Murakami and Damien Hirst for the visionary in their oeuvre and for the ability to summarize thoughts and ideas. "But [ can't afford their works, as yet" .

While collecting art works has gradually become

a trend and part of the lifestvle of many young executives, for Paula it is more of a passion and an enjoyable explorative journey."[ am still often in doubt about whether the work is good, whether [ should purchase it, and why [ should purchase it." To acquire as much knowledge as possible, she browses the internet, reads books, visits exhibitions, and travels to such museums [ike the Centre Pompidou in Paris, the Tate and Saatchi Gallry in London" Paula also travels to see the exhibitions where her favorite artists are on show, either to encourage or to honor them. Just recently she went to Tokyo to see Tromarama on show at the Mori Museum, and to Singapore to see the great Cai Guo Qiang and meet with him.

Collecting art works, Paula says, has taught her

many lessons. For one, she says it has helped in

her professional life. As a director managing about

50 staff, overseeing 500 personnel, she can more easily pinpoint critical issues and find solutions. More importantly, it balances a busy profession with a totality of joy, so intense and all-encompassing. she could not live without it.

Belonging to a growing breed of young collectors whose purchasing power of art works is grounded on thorough considerations, firm scrutiny, and in-depth studies, Jakarta born Pau I a Dewi yanti is a. gradu ate {M BA} of Babson Coil ege, Welles ley, Massacl] usetts.B





First Floor 8 Queen's Road Central Hong Kong T +8522810 03"17 F +85228100311


The Indonesian Pavilio at World Expo 2010

An expo as an event is a many-splendored thing. It is like the Olympics where nations compete for innovation, inspiration and information displays. When the idea of an international exhibition saw the light of day in London in 1851, it was designed to demonstrate Bri tai n's industrial, econom ie and military superiority. Fair enough, now, more than a century later, Shanghai has replied to the Western nations and the rest of the world with an Expo that opens an entire new chapter in the history of such international events. It is by far the largest Expo ever with the most participating countries and the largest exhibition area, and is certainly expecting the highest number of visitors. China is showing its muscle to the world and putting pressure on every nation.

32 OCTOBER. NOVEMBER 2010 I :~Art.


Shanghai. has changed Expo and Expo has definitely changed Shanghai too. These days, walking on the streets of Shanghai, the sky feels much dearer and the air fresher. People say that in order to cope with the image of a clean and green Expo host, the government of Shanghai

had closed down most of the factories around Shanghai. So the future

is here, right now. Expo helps Shanghai to think about an experimental life of the future, creating cities that express the ethos of our timemodernity, innovation, sustainable development, the green planet, low-emission lifestyle and so on. When prosperous countries like Germany, Great Britain, Saudi Arabia and Japan build their pavilions with cutting edge technology, innovative materials and 3D, 40 and even 5D visual experience, what do we expect to see in the pavilions of

The Indonesian Pavilion at World 'Expo 2010, Shanghai, Chin.

those traditionally poorer countries? What is the Shanghai Expo motto, "better city, better life: to do with a country like Indonesia? If a national pavilion in an Expo functions like a miniature of a country, a temporary simulacrum of the future, what kind of future vision can we see by visiting the Indonesian pavilion? How will a national pavilion respond to the host country China and what kind of story does the Indonesian pavilion want to tell to the Chinese visitors?

by the size of the pavilion. Standing amid a replica of a traditional Thai temple that hosts the Thai pavilion and a music-box-like futuristic structure that represents Singapore, the Indonesia pavilion is a massive four-storey building constructed with wood and bamboo, The tacade of the pavilion is covered with bamboo strips as are the ceilmgs and floors. The natural pattern and texture of the bamboo bring the feeling of the rustic village life from the idyllic Javanese mountains to the visitors, a. nostalgic call for the country'S nature an d past Bamboo sticks are p I anted arou nd

the pavilion and in the middle of the building. Unfortunately the bamboo sticks have been deprived of their roots for too long a time and have now turned from their original refreshing green color into a more yellowish dry color, You can't help but wonder, why didn't they plant real bamboo instead? No, not all the materials in this pavilion are authentic, even the window slats are made of industrial metal covered with paint similar to the color of bamboo. Isn't the Expo also about creating spectacle of the future using a mixture of reality and imagination?

If the concept of using the traditional building material such as bamboo is the starting point of the exploring Indonesia in Expo, the form of the pavilion with its surprisingly modern look works perfectly as its counterpart. The building has a minimalist clean, flat and simple shape with an open entrance area supported by several solid bamboo pillars that reach all the way to the ceiling, The open space between the pillars forms a large performance stage which is spacious, airy and inviting, as a traditional. Balinese-style building with a stage would

be. The ecological concern in the Indonesian pavilionis more about low-tech than high-tech. So the walls of the pavilion are constructed entirely of huge sun blind windows where each slat can open and close separately-the same kind of climate control system as the traditional chalet on the tropical islands .. By using the natural breeze, the Indonesian pavilion is the only pavilion in the whole Expo that does not use ecologically unsound air-conditioning.

Bamboo and other natural materials are favored by many countries

in Shanghai Expo. The green consciousness is reflected in many

designs and architecture. Vietnam has built a bamboo palace with an unexpected cathedral interior, which for me seems to be a reflection of the country's past colonial history. Spain has covered its pavilion with rattan and woven wicker designed as futurist sculptures, a response to Spain's striving for the vision of the future. The Indonesian pavilion's designer Budi Lim describes the use of bamboo as "the synergy between the traditional and contemporary lifestyle of Indonesia," There is a contrast between the material and the form in the architectural language, but I had expected more interactive dialog between the modern and the traditional within the architecture as well, much like what [ have seen in the Norwegian pavilion. Rid) in wood, the Norwegian pavilion is built of wood with its basic structure formed by the arches of the traditional Norwegian stave church. But a second look at the pavilion's wooden panels reveals that the material is actually a. combination of Norwegian wood and Chinese bamboo assembled together by a. hi-tech solution,

A I ready from a. d istance, I can see the tall bamboo sticks stretch i ng a symbolic gesture of the meeting between the West and the East

out from the lndonesian pavilion To start with, I am impressed beautifully concealed in every panel surrounded the building.

As a Chinese national who has lived several years i.n Southeast Asia, Indonesia has a special place in my heart. I have visited Jakarta,

talked with artists living in Jogjakarta and dived in the blue waters surrounding Bali. I have to admit that without these experiences, my view of Asia, as it is for most of my fellow countrymen, would be limited to the closest neighbors of China. But travel and art having opened my eyes, it is with a sweet homecoming expectation I head to the area in Expo where all Southeast Asian countries are gathered.

'~A"s I OCTOBER - NOVEMBE'R 2010 I 3]

The size of the Indonesia Pavilion is massive

34 OCTOBER. NOVEM BER 2010 I ~Art.


The Norwegian pavilion has a basic structure formed by the arches of the traditional Norwegian stave church

As I pass by the stage where the performance of an Indonesian dance group attracts large crowds, I am on a 700 meter long ramp that leads me and hundreds of other happy visitors toward the top of the building, Along the way, a waterfall is spouting water over a gigantic map of Indonesia and the region. The sound of the rippling water accompanied by the sound of the birds singing sent from some hidden hi-fi system inside the building simulates the atmosphere of the tropical jungle-or perhaps, a lobby of a luxury hotel in Jakarta. But, come on, the audience love it. Lines of Chinese visitors stand in front of the waterfall to be photographed. Interestingly, [ notice the names of the cities that are marked on this stylistic map beneath the water are Jakarta, Singapore, Shanghai and Los Angeles. Is this the Indonesian international vision of the world? Or a simplified image of how indonesia is ill relationship to the rest of the world, namely China and America?

There is plenty of information displayed through photographs and objects along the way that introduces the rich biodiversity of lndonesia, from marine species to flowers, fauna and also the diversity of ethnic groups. I can overhear how Ch inese visitors express their wonder that 300 ethnic groups and 600 native languages exist in Indonesia. all unified by the glorious water of the country. Expo is also about presenting the national pride to the host nation, Each country's pavilion presents evidence of the

The green tunnel inside the pavilion leads the visitors to explore the diversified water, land and nature of Indonesia,

The queue for enterin9' the Indonesia Pavilion is also im pressive long

country's myth that is consciously or unconsciously projected onto the miniature representation of the nation.

The myth that brings China and Indonesia dose together is the legendary explorer from the past: the Chinese Admiral Cheng Ho has a prominent presence in the pavilion. A statue of him together with a bedug, a Chinese drum which was brought to Indonesia by Cheng Ho and h is fleets and is still used today in the mosques allover Indonesia

Rickshaws in the I ndonesia Pavilion, low-emission urban I ifestyle or a nostalqlc call for the past

for the call to prayer, is another hot photo spot for visitors. Cheng Ho is described as the person to in itiate the idea of integrati ng the Islamic faith and Chinese culture, a legacy that is still evident until today Now the historical connection between China and the Southeast Asia region via Cheng Ho has gained a contemporary continuity.

So, better city, better life? What makes life better in a city like Jakarta where traffic chaos is part of everyday life? A row of colorful rickshaws catches my eye as I approach the end of the tour. I am thinking that as the Expo is striving for a low-emission urban lifestyle, such traditional vehicles should be encouraged and maybe should receive a revival in cities like Shanghai. But dearly it is not what my countrymen think. As a group of visitors pass by the rickshaws, I hear a comment from the crowd, "How can they still use rickshaws! Indonesia is far too backward!"

The future is dizzying for Chinese people. There is no time to be wasted for nostalgia. Each individual nation in the Expo presents its vision of the future responding to its natural, social, and historical background. It is a many-splendored thillg! As to what the host nation China can gain from this enormous international event, the answers are still to be discoveredld

Kaimei Wang hasan MA in Contemporary Art form Sotheby's Institute of Art Singapore

'~A"s I OCTOBER - NOVEMBE'R 2010 35

I believe that the horrifying deterioration in the ethical conduct of people today stems from the mechanization and dehumanization of our lives-the disastrous by-product of the scientific and technical mentality. Nostra culpa. Man grows cold faster than the planet he inhabits.

On. e. of th.e th.illg.-s I misse. d .. Whil.e liV. Bali was the presence of playgrounds,

so when we moved to Vancouver I started taking my four-year-old son to playgrounds allover the city. There are some awardwinning playgrounds here that make an adult wish he were young enough to climb. And sometimes I do.

But the most remarkable thing about these modern playgrounds, beyond the giant swinging plates, spaceship ropes and inside-out sl ides is the fact that it's possible to pause the children. Dozens of children running, climbing, playing tag-and if someone suddenly yells "Pause!" all of them freeze. Everything stops. Including my son, who had never played this game.

When I first saw this, 1 found it disturbing. A bit too much like bad science fiction. Someone had implanted a pause function into my son while I wasn't looking.

I figured rt out a couple of days later, when he was watching Winnie the Pooh and needed to pee, He couldn't find the remote control, so he started yelling, "Pause! Pause!" We don't have a TV, all his movies are on DVD, and they can all be paused. So can electronic games.

This pause function scares me. I don't worry about

the Terminator, smart machines, genetic engineering

or even the self-replicating gray nano goo that Bill

Joy, founder of Su n Microsystems, famously worried about in a Wired article ten years ago titled, "Why the future doesn't need us." My fear stems from a different William, the psychologist William James who described the "gray chaotic indiscriminateness" of people who are unable to focus, to pay attention. I'm afraid of the way machines interact with the human brain, because of the two, it is always the human brain that will adapt.

Have enough games with a pause tunction, andit starts to work on kids. Have enough corporate managers using telepresencing-like video conferencing, but with the screen mounted on machines that walk around the office to check on everyone-and people stop holding doors open for each other (since the

(Albert Einstein)


Lobby of A5US headquarters in Peitou, Taiwan, with Mona, Lisa, pa inti n g: constxu rted fro m use d mothe r-

boards. -

" Scu be Series H D vi d eo came ra

by u quid I mage

~~A". I OCTOBER. NOVEMBE;R 2010 I 37

five-foot-tall robots, made by companies

like MobileRobots lnc., don't have arms). Have enough safety built into CPS-enabled phones, and you get idiots. __ uh, unprepared hikers climbing into mountains far above their skill level calling in search-and-rescue hel icopters to campi ai n that the water is salty. Technology never simply satisfies a need. [t always also changes human behavior.

I'm a member of the California bar. Before the bar exam, [ took a ten-week course on how to stop thinking. Former exam graders explained how all essay questions needed to have certain keywords. We should underline the keywords. lf we used a synonym, the grader would miss the keyword and we would lose points. The text between the keywords didn't really matter. Just something to fill the space. These human graders with the power to decide who could become a lawyer were imitating a search engine.

Invented to help us retrieve information, Coogle has completely changed the nature

of information. Just ask any marketing

agency that has moved to more "scientific" approaches-striving that every press release, and increasingly every newspaper headline, includes the words 'Green; 'Sex/ 'Cencer; 'Secret,' 'Fat,' 'Toxic' and 'Taylor Momsen'

And while it has always been amazing that any creativity survived a formal education, now that computers are grading elementary school essays and the background technological pressure has reinforced the existing human impulse to avoid thinking-to replace real situational thinking with categories, checklists, and rules-the only thing our kids will be good for is becoming border patrol agents. We are teaching them to think in ways that are very quick and very shallow. Like computers.

CoO urte sy of Ma rt in .8.!ircn}fr Com pan y

This pressure comes not just from our

tendency to adapt to our tools, but from the sheer quantity of information these tools enable. Lord Chesterfield once wrote to

his son that "Steady and un dissipated attention to one object is a sure mark of a superior genius; as hurry, bustle, and agitation are the never-failing symptoms of a weak and frivolous mind." Modern

Martjn Jetpack. 2010

38 OCTOBER. NOVEM BER 2010 I ~Art.

~ YouTube Play A Biennial of Creative Video, design by Jeff Baxter from a photograph by David Heald

neurological research has proven him right-a 2005 Hewlett-Packard and turn them into permanent long-term memories," Frank said. With

study found that, "Workers distracted bye-mail and phone calls suffer constant stimulation, "you prevent this learning process."

a fall in IQ more than twice that found in marijuana smokers."

In 1998, I brought Heidegger's Being and Time on a year-long trip

Russell Poldrack has shown that multitasking interferes with learning through Africa. It was my reading, my pillow, my weapon for fighting

by giving the work to the striatum (a part of the brain that handles off giant beetles. And it took about six months to read properly. One

novelty-related decision making) rather than the hippocampus, of my favorite sections was when Heidegger talks about neugierig, the

which controls the storage and recall of information and is triggered German word for curiosity which translates literally, and unflatteringly,

only in u nd istracted learning. Rene Marois has shown it triggers as "greed for novel ty." In 2010, I can't go to the toi let withou t taking

gluucocorticoid and adrenaline hormones, which not only interfere my blackberry=otherwise I feel like I'm wasting time doing only one

with learning but can cause long-term health problems. Loren Frank thing-and can't imagine anyone reading Heidegger at all. Not while

has shown that when rats explore, their brains exhibit new patterns of PlayFish strives to "reinvent the [mobile video] game experience to fit

activity, but these only turn into persistent memory if the rats have a into micro-moments" of under two minutes.

chance to take a break from their explorations, Similarly, if you take a walk in nature after learning something, you'll remember your lesson far better than if you take a walk in a dense urban environment. "Downtime lets the brain go over experiences it's had, solidify them

Don't get me wrong Having never lived in one place for more than four years, I have my own greed for novelty, And I like gadgets as much as the next male. Give me one of the new Martin letpacks and

~M"s I OCTOBER - NOVEMBE'R 2010 I 39



~ j






o v



MARK MADEL, Time.horing, 1997, printed circuit beard s- electronics • software· sound, verieble size (in photo: 300 x 300 x 250 em) (Two or more people touch the control stands and hold hands in a human chain for as long: as po-ssible, sharing: their tirne.)

I'll be sky-high happy. (This is a good year for jetpacks, with three blackberry telling me, as one anonymous wit put it, "I noticed you've

different companies finally commercial jetpacks onto the been watching that blonde over there, and you appear to be sad.

market. No pilot's license required.) Would you like a list of local escort services?"

If your jetpack crashes, the company And vmyly can bake your ashes Even the perennial limitation of battery power is about to fall as this

into vinyl records, to haunt any descendants who continue to hold August researchers created two viruses-one a tobacco pathogen,

onto vinyl-playing technology. You can record everything in between the other a virus that infects bacteria-to create the cathode and

with a Life Recorder; new research will make video searchable; HP's anode for a lithturn- ion battery that can be sprayed on clothing,

new rnernristor-based chips will have one petabit of memory per cm',''Typical. soldiers have to carry several pounds of batteries. But if you

the ability to remember voltages when turned off, and the potential could turn their dothing into a battery pack, they could drop a lot of

for emulating human-synapse-like neural systems; and the face- weight," said Mark Allen, one of the MIT researchers.

tracking software already running on the Nokia N900 smartphone "knows" where you're looking and how you're feeling, It's a Brave New World with possibilities ranging from thought police to my

I love the idea of power coming from tobacco and disease-stra.ight from the Devil, so to speak-but I can't help remembering those

40 OCTOBER. NOVEM BER 2010 I ~Art.

Dell laptop batteries a few years ago that kept bursting into flames at unpredictable moments, I won't be doing my own laundry,

In short, we have a million different players lifting the baseline level of technology ill a grant tide, each thinkieg he's Just making microimprovements in a browser, or a medical nanobot, or (as in the case of research at Georgia Tech) algorithms teaching robots when and how to lie to humans.

I'm no futurist, I don't know if in ten years there will be a thousand different people on the cusp of creating the nano-goo, or Skynet or the Singularity. What I do see is that James' description of the child's mind,

its "extreme mobility of attention" that "makes the child seem to belong less to himself than to every object which happens to catch his notice"

is increasingly true of adults today. And I can predict that if we get to the point where 80% of the population prefers to nonthink like a computer, then corporations will apply their beloved 80-20 rule and decide it's more efficient to drop the complicated 20% than it is to cater to them, especially since they would be holding on to opaque, inefficient and hard-to-aggregate mechanisms of social interaction like quality, These are the people who would resist having a pause function installed,

I wonder, though, who are these people? Artists, maybe, if the word is broadly defined to include the scientists creating the technology in the first place, To quote Einstein again (his name is, after all, a keyword), "After a certain high level of technical skill is achieved, science and art tend to coalesce in aesthetics, plasticity, and form. The greatest scienti sts are always artists as well." And it is th i s very plasticity of thought that is threatened by technology.



o U


MARK MADEL. Jewel'}' Box - Text Version, 1996, printed circuit board- electronics - software - sound, 10 x 10 x 10cm

the most creative fields. ln detective fiction, for example, every chapter must have between IS and 17 pages, and the reversal (where the detective realizes he's been pursuing the wrong suspect)

More directly, artists like Peter Vogel, james Seawright and Mark Made[ must happen in chapter 13. Break the formula and you don't get

have been integrating technology in their art for decades. [ like Madel's publtshed=-because 80% of the time this formula works. And I've

work because it remains aware how the technology itself shapes known too many artists whose career paths, and often individual

perception and social spaces, instead of merely showing off his own works, were as calculated as any other management optimization.

"technological virtuosity," One of Madel's pieces, titled Jewelry Box, As for me, finding a way to include the phrase "love a horse" in this

is designed to mirror a long-term relationship, with the lifespan of the article will shoot it through the SEO roof, Especially, according to

relationship dependent on how often the owner opens the box. Too Google Trends, in the Philippines ...

often at the beginlling, andit will get bored of you, Ignore it for too

long, and, Similarly, it will cease to work. But open it at just the right The current issue of Make magazine has 23 gadgets you can build on

frequency in each stage of the relationship, and it can last sixty years. your own, The most interesting one is simply a gadget that turns itself

"You cannot love a car the way you love a horse," said Ei nstein.

Other artworks by Madel include microcomputer implants that take over normal electronic appliances-your DVD player, radio, TV-and give them "personalities" that let them control their own actions rather than blindly obeying their operator when he presses, say, "Pause," (and you thought your DVD player was annoying now!) and a number of pieces with self-destruct mechanisms built in, based on things like how many times they've been viewed.

Despite these sorts of rear-guard actions, however, one can feel the impact of the fast-and-shallow technological mind eveni n

42 OCTOBER. NOVEM BER 2010 I ~Art.

off. The editors of the magazine described it as "creepy."

But maybe there's our hope. If we can't hit pause on our technological tide, then maybe we can make machines that suicide, that lie and cheat and get addicted to tobacco or other drugs, that are built on human-like rnernristor neural nets. [f we're lucky, maybe we can make machines human before they turn us into machines. Call it a race~

Alexander Boldizar is a, writer and editor based in Bali

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AUgUSt is flag month in Singapore, As nationalist lever -genuine or co-opted- grips the city-state, the island's centres of culture, like its malls, play up the high-summer theme as they do Christmas and the lunar New Year.

But whereas August is generally marked by self-congratulation

for past achievements and confident nods to the future, some in Singapore took a different tack this year. Celebrating national day with photography, installation, graphic art and painting, Valentine Willie Fine Art Singapore, the three-year old off-shoot of the Kuala-Lumpurbased Willie franchise specializing in Southeast Asian contemporary art, put up Singapore Survey 20 10: Beyond LKY.

Occupying the vast South Gallery of VWFA's container port locale, the show was as lofty in physical scale as it was in suggestion: for

as anyone familiar with Singapore knows, Minister Mentor Lee

Kuan Yew embodies the 45 year old Singaporean nation and the mere mention of the man is enough to inspire awe and a devouring curiosity in citizens and residents alike. Indeed, Willie's title. pairing the great statesman's initials and the idea of his mortality, so titillated the local public that the net-waves were abuzz well before the exhibition opened.

But what then of Beyond LKY's content and what could Singapore artists say about that taboo subject, the future of Singapore after MM Lee?

The show, curated by Valentine Willie in collaboration with cocurator Jason Wee (also represented), included the work ofl9 local practitioners, With its variations in artistic quality the grouping provided an illuminating glimpse of the generational and ideological differences cleaving the Singapore art scene, and went some way to explaining the direction of recent local art history. As interesting as the art itself, and undoubtedly ill Willie's mind when he came up with his survey concept a year ago, was the testing as much of Singapore's tolerance of taboo as of her artists' ability to think and create outside the clearly drawn boundaries that most have grown up with where home-politics are concerned. In Singapore, still today, though

change is in the air, the public airing of critical, thinking remains as problematic as the Minister Mentor's demise,

Willie's theme posed an undeniable challenge with its inherent allusion to unquestioned authority, power, history, nation, future, and morbidity. But rather than attempting to groom the show as some might have, the curators left the artists to their own devices, the

latter presumed to make work -a majority of the pieces were newlyminted for Beyond LKY- relating to the succinct but complex briel. What transpired was that while some practitioners had the mettle and sophistication required to fully respond to the curatorial premise, others stayed in their comfort zones, shy of tackl i ng a subject that could only be apprehended with a questioning eye and an open and independent mind.

JASON LIM Chains (white raku), 2010 Ceramics 400 em

~~ArlS I OCTOBER - NOVEMBE;R 2010 I 45


MICHAEL LEE Spiral S upermart

Perhaps not surprisinglj, the older and better- traveled participants generally produced the most satisfying art. Theirs were not the conceptually coarse, visually facile, 1110cksubversive pieces that have been spied in Singapore recently, but instead thoughtful, sometimes nearly wistful works mixing an understanding of the weight of history and a genuine engagement with nation, present and future, however critical

their message, Not coincidentally, these practitioners tended to Jimmy Ong's 2010 LKYas Mother & Daughter, rendered in the artist's

be of the generation that remembers Singapore's art scene before signature charcoal on paper, was one of the show's mostintelllgeot

it became a quasl-buslnesswtth grants and public patronage the and conceptually far-reaching works, The drawing, presenting two

sole coveted trophies of success. tussling nude figures, was no different from many Ong studies. But the

The work of old hands Jimmy Ong, Tang Da Wu, and Zai KUlling stood out for its acuity and visual lyricism -surprisingly, Lee Wen was absent from the show-, These til ree major figures of Singapore art all contributed -amongst other pieces-, monochrome graphics on paper, the most mainstream of media, so dispelling the notion that exciting art is about novel packaging rather than content.


piece's title, with its allusion to gender change - only

a superficial reading could reduce its meaning to one

of mere sexual orientauon-, invited viewers to ponder

a radical rethink of Singapore from the inside out, Yel

if the piece was subversive -i ts prima-facie reference

to cross- ge 11 de ri ssues fa r less provocati ve til an its call

to change", it did not antagonise, Ong's placing MM

lee in the role of mother (he is traditionally referred

to as the nation's father) a gesture of tenderness rather than irony. This intimacy between artist and subject went further, lKY also occupying the vulnerable

role of fallible daughter, If the daughter is fragile and inexperienced, she is also human, thus suggested the drawing, entitled to be judged with some benevolence by history, More obliquely, and here was the piece's ambiguously phrased subtext, imperfect as the daughter may be, she represents the future and thus, with all

her flaws, liberation from the past. Taking stock of

the power of history, Ong also hinted that Singapore might never be free of its past and that U<Y, incarnating both mother and daughter, must somehow go on for ever" Jimmy Ong's LKY as Mother & Daughter; about power, the possibility of change, and the necessity of COil fronting history-lo-be as a direct product of the past, encapsulated the exhibition's multi-layered concept.

Film-maker Green leng's Malayan Exchange, first shown in a grander versionlast May in a show about Southeast Asian history at Esp"lanade's lendela gallery, demonstrated that a strong idea can sometimes make-up for scale. Despite their material insignificance in the cavernous VWFA space, Zeng's James Puthucheary and lim Hok Siew paper-money prints (here called respectively

Study of a Note of the Future- Green, Orange) carried iconographic gravilas and conceptual weighl, speaking

si mull a nee uslv of past and future. Perh aps m 051 compellingly, the work, in featuring the images of Lim and Puthucheary (local independence leaders whose voices were suppressed by exile or incarceration during the power-consolidation of earl)11960s Singapore), suggested an alternative vision of Singapore in yeats to come, the city-state at last transcending the monolithic political identity that has defined its post-independence years.


LKY as Mother & D~ugh ter

message, hinting at Singapore's nascent culture of individualism that contradicts the social conformity so long imposed i.n the interest of post-independence nation building.

Jason lim, unique for his ability to push ceramic art onto conceptual terrain, put up a new installation where fired clay and idea enjoyed

a perfect rnarrtage. In his two pieces A Chain is as Strong as its Weakest Link# 1 and #2, the grey-white raku ceramic chains were formal simplicity itself, The fragile, brittle material of the chains, installed dangling on a gallery pillar, went far in belying the notion of the chains' conventional strength, the two installations operating as

a convincing metaphor for the uncertainty that awaits Singapore as the nation leaves behind the lKY era and its paradigm of engineered social, religious and political cohesion. Lim's title underscored this

For Beyond LKY, Tang Da Wu showed sculpture and drawing. A new version of his ongomg seminal series of lconic hammer installations (begun in 1994), here titled Same Same and No Difference Between Unity and Self-Destruction, was formally and conceptually compact, the piece's violence and cynicism rendered all the more arrestiog

for its dense, poised-for-action aesthetic. Large-scale 20m ink and charcoal essays. Aung San Supports The Branch and Kappa Playing in the Stream (commissioned for the same Esplanade exhibition as above),

~~Art. I OCTOBER - NOVEMBER 2010 I 47


GREEN ZENG Malayan Exchange


Broken Piano

pro-death penalty pollcyHis The heart of Piano, the destroyed innards of a piano salvaged from an earlier performance. brought silenced strains of music to the gallery, the piece alluding to past and future as it queried the place of Malay language

in today's Singapore via its identification with the national anthem, Further, through its evocation of absence and ruin, Kuning's installation could be read <IS articu lating the creepingcu ltural dislocation overcoming Sillgapore as the city-state relinquishes her pluralism of the past in favour of homogenized, global-commerce-oriented idea 15.

Final,ly, Michae] Lee's 2010 four-printSecond-l-land City series, with its crisp graphics and archi tectura 1- drawing-derived technical precision, anticipated a Singapore of the future that in many ways has already arrived. In this juxtaposition of his clinically ordered, dehumanized view of future urban life and the patently familiar -the nightmare-maze underground mall few Singapore residents manage to avoid; the hyper-active urban-center continuously sprouting

new generic towers-, Lee created an insidious, uncomfortable tension, his images nervous and questioning under their presentation of the slickly selfassured city.

Other works, less committed in tone, variously depicted MM Lee or focused on the death penalty, communication, HDB-living (the Housing and Development Board is responsible for the governmenthuilt/subsidlzed lower-blocks emblematic of Singapore social policy since the early post-independence period), the Sillgapore landscape, prostitution and cross-dressing. Though these pieces addressed aspec rs of Singapore life, they did not capture the nuances

of the exhibition theme, But with a show such as this one, Singular thus far in the context of Singapore and daring in itsinvitatlon to use art as a vehicle for testing

the socio-political status quo, the question posed was 1110re important than the answers given. Indeed, if not all the art in this exhibition was potent, the very throwing down of the gauntlet that Singapore Survey 20 10: Beyond LKY represented was most certainly the stuff of Singapore art-history~

referenced Singapore obliquely and directly, the first a celebration

of Burma's assassinated independence leader shown holding up the branch of democracy, the second evoking the mythological beast Kappa leading viewers toward Singapore's new Maml11ol1-celehraling temples, the Marina Bay casino complex. Literal in their social critique, these two drawings' didactic flavor was tempered by humour and the virtuosity of Tang's brush, the artist's ink washes so exquisite that even their harsh message could not fail to find a receptive audience.

Singapore Survey 2010: Beyond LKY VWFA Singapore, S-29 August 2010

Zai Kuning too proposed paper and installation, his large, spectral i Ilks, abstracted as they were, taking a stand agai nst Si ngapore's

lola Lenii is a Sinqapore-besed critic and curator special izing in Southeast Asian contemporary art


.. "


Human: Nature 15 Oct - 13 Nov 2010

The world is not coming ro an end bur nature is and perhaps with it humans. The 2nd Singapore International Photography Festival explores this complex relationship of dependence and destruction with exhibitions, workshops, seminars and film screenings.

The Am House I Esplanade Xchange I Nanyavg Aeademy of Fine Arts

National MLlSeilln of Sin gop ore I 2902 Gallery I The Gallery, OldSdlOol Photographic Soclery of S i ngopore I Singapore Management University Gallery Singapore An Museum I SM1 ar 8Q

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Andy's Wonderl~nd, 2006 Stainless steel in edition of 8 200 x 120 x 150 em

TAGS & TREATS Works by Vincent Leow

WoonTai Ho

Meeting Vincent l.eow in person is a very different experience from looking at his art. At the Singapore Art Museum (SAM) 8Q wing, his works although colorfu I and satirica I, are also angry and qu ietly dark. Leow however, smiles politely and is comfortable allowing curator David Chew to talk in depth about his works-a wide range of media, from oil on canvas, sculptures and installations to recordings of performances and mixed-media art.

One is inclined to categorise his works into periods: provocative and angry; colorful and satirical; and finally the prominent period embracing his alter-ego Andy. The grin never quite leaves his face even when he talks. And his answers are tentative. "Well, that's how people seem to see it." While his work> are bold, one gets the feeling l.eow does Il!J\ like to be categorical. "I find it hard to be precise; I prefer things to be openended. There must be more than one way to look at things."

In Singapore, Leow is known in the mainstream for being the notorious artist who drank his own urine in his 1992 performance, Coffee Talk. After addressing some 20 odd people in a shopping mall, he stood up and urinated into a coifee cup, made a toast to

his audience (it was the final day of 1992, New Year's Eve) and drank it. He then sat down and cut locks of his hair, placed them in envelopes addressed to people in the art scene. Leow later launched a "limited edition" of his bottled urine packaged in small cardboard boxes entitled, The Artist's Urine. Each was labelled, signed, numbered and priced at 5$30. Coffee Talk shook the relatively tame Singapore art scene, despite it being

a tradition in some Asian countries to

drink one's own urine for health. Tonic

or toxic. leow was seen by the press to have transgressed social norms. Now,

a I most a decade later, for t his current exhibition, "Tags & Treats", which is on from G August to 17 October 2010, the national paper, The Straits Times, did a big feature, the focus, still about the arti sr who drank and sold his urine.

"Tags and Treats" kick-starts SAM's new series for mid-career ar rists of Singapore, most of whom championed the visual arts seriously in the 80s .. This group went against the dominant norms and styles of painting, and in 1988, these alternative creative iorces converged, establishing The Artists Village (TAV1, essentially an open area for experimentation, spearheaded by Tang Da Wu. Singapore Contemporary Artists Series showca ses these artists'

works in a museum, accompanied by a publication that catalogues and traces the careers of the a rusts,

Born in 1961, Leow was formally trained in SI. Patrick's Art

Centre (now the LASALLE College of the Arts) his interest then was sculptures. Talking about his early days, Leow is modest but unapologetic. "I was actually nervous doing Coffee Talk as most of us did not have any knowledge or experience in performance art. But the TAV helped; with my peers giving critique and encouragement." l.eow's performance art was the very essence

of TAV-to take another look at the approach to art. The artists focused on the idea and concept behind an artwork instead of

the finished art. And in Coffee Talk, the body was the canvas. It was an ideological shift, where the process of creating art became as important, if not more important, than the final artwork. For performance art in particular, this process included audience reactions and responses as part of the art.

At 28 Leow had left Singapore 10 spend three years at Maryland Institute College of Art in Baltimore pursuing his Masters of Fine

Arts (1989 to 1991). The college is one of the oldest art colleges emphasising techniques and foundation. His peers included Ken Tyler and Elaine de Kooning.

Walking through the exhibition, one sees the progression in the artist's career, which is a significant initiative of SAM. It gives artists like Leow a chance to see their careers in a holistic perspective

T AndY. Addiction, 1996, oil on canva s, 120 x 1 SO em

~~Art. I OCTOBER - NOVEMBER 2010 I 51

runway. But one can see Leow's fascination with the material and the texture. The sheer intensity and depth of the piece make one feel that the painter approaches the paints and canvas as three-dimensional forms themselves and the piece could be "sculpture" in the artist's mind. "I enjoy the three-dimensional aspect of art most. But I have

so many ideas and sculpture was too slow a medium. At the TAV, I explored painting and performance to convey my ideas."

l.eow's stay in the U.S. exposed him to the expressionist style of painting, which he embraced as it allowed him to execute his ideas faster. The works at the exhibition produced after his U.S. stint are still forceful, but having been exposed 10 pop culture and mass media, they have a deft satirical dimension. One sees them as a period in which his trademark whimsical style was honed. Still exploring single

objects, there is now an added sophisticated layering 01 symbols in the form of common animals such as rabbits, elephants, giraffes and fish. His famous Mountian Cow Factory series (199B) has a Warholian quality, bright strong

colours and ~ie multiple cow prints paired Wi~1 life-size

sculptures placed deliberately in non-art spaces. "Repetition :is an effective tool; it allows my ideas to be adapted to different

sites and scales." Leow says his idea of repetilion was inspired by cloning ( the sheep) of the consumer society and also the idea of propaganda from the Chinese Cultural Revolution posters. "When you say it over and over again, people remember." Ironically, this

prompts some to connect the crossing of art into commerce, the marketing savvy madelegendary by Warhol.

Many of the works have never been exhibited in public, others commissioned for the series. Works like Yellow Field, Two Men and Cut Throat are assertive with an aggress.ion close to rage. One feels the anger even violence emanating from the random brush strokes.

His admiration for Warhol took physical form from the mid 1.990s when he named his pet dog Andy in Warhol's honour. The emergence of this alter-ego Andy (ill the form of not just his dog, but his rooster and rabbits) permeates

his works to the present. "I want t.o make Andy, a mere mongrel, to look attractive, like how some worship idols made of plastic bUI spray painted in silver. Andy is kitsch yet glamorous." Leading up to his participation in the Venice Biennale ill 2007, with Andy '5 Addie lion (1996) the mongrel had taken its literal meaning, a hybrid, here stretched to an artistic extreme- part human, part animal. "This comes from the idea of mvthology, how people believe in deities that are half-human, half-animal, I wanl to transform something ordinary like a clog into an idealized deity." And because A.ndy smiles in every piece, many see it as self-portraiture, associating Andy with the grinning artist himself. Andy's Wonderland, Andy's Pranks and Hawk (all 2006) are a polished I ife-like representation 01; the many A.ndy narratives, now sinister almost rnonster-tike, placed in different situations and bodies.

4- Hawk,2006

Stelnless steel in edition of 5 240 x 150", 150 em

"I found what was formally taught uninteresting. Art could be made in other ways .. Whatever the medium, it is irnportanl for me to evoke a visual sensation or experience in the viewer, like the way I respond to Jackson Pollock's drip painting. Bull do not challenge the way people interact with my art. Their perceptions reflect the society we live in,"

Yellow Field (1990) illustrates his approach to a still life object, here an everyday object, a. singlet, stretched i 11 to a landscape painting 01 a

When .Andy the dog died, the Andy series takes on a commemorative melancholic tone. On level three of the museum


Contemporary art available from $100 to $10,000

F1 Pit building, 1 Republic Boulevard 19-21 November 2010 Tickets:

Supported by



is The Ballad of Andy.' Remember You Will Die. The use of bones here urges us to remember the memories that death leaves behind for the living. The installation Conversation with a Femur Bone based on life-size human femur bones looks like a lab scene from the TV series CSI, quietly clinical .. The grim issue of mortality however still embraces l eow's Signature playfulness. If Andy were alive, he would have seen these bones as treats. Hence the title Tags and Treets. "Tags" refers to a pet's identity; and "Treats" playfully to its legacy.

This period of the And)1 series is Leow "thinking aloud" about mortality in metaphorical and abstract works. One recognises the iconic Mona Lisa painting, or the sunflowers of Vincent Van Gough. But in Portrait and Veil and Sunflower (both 2009) they are blacked out, an erasing of identlties. leow who has spent two and a half years leaching art in Sharjah University, United Arab Emi rates, is dearly influenced by the approach to art there where figurative representation is debated in relation to tradition and culture in the Muslim world. There is a fluid even liquid quality ill the way he

54 OCTOBER. NOVEMBER 2010 t ~Att.


Mountian Cow Milk Factory, 1'998, rnlxed media on canvas, 1 SO" 180 ern

renders these silhouette works. Seism (2009) shows a man with his hand dose to his chest, similar 19 Portrait and Veil where only the hands are left as identities-reminding us of human mortality and the futility of vanity.

By the end of the exhibition, the experience of talking to the artist and viewing his works are now one and the same. His art is almost an intellectual, emotional and physical extension of him.

"At the exhibition, a viewer asked, what next? It gol me thinking. Will I explore the rebirth of Andy, a sequel or maybe 110 more Andy!" He seems Lo say there is no certainly but lots of possibilities, smiling that .Andy smile. Leow has been quoted, "Death is the only way to start afresh.'1:011:

Woon Tai Ho is· a reg,ional media consul rant/roach and author based in Singapore


Supported by




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High Seas of Resistance

Simon Soon

It is a somewhat unique if not anomalous phenomena among artists from Southeast Asia that there exists in Malaysia and Singapore a particular breed of artists who have adopted a region-wide sensibility, a scope and awareness larger than

their immediate national identity and concern. This trend finds little parallel with artists practicing in other parts of the region.

Examples of these include Singapore and Malaya-based Nanyang school of painters who sought to capture the tropical landscape and culture through a localized form of cubist/primitivist expression, expressionist Latiff Mohiddin's construction of the symbolic motif that represents the spirit of Southeast Asia in his Pago-pago series, Redza Piyadasa and Sulairnan Esa's promulgation of a Pan-Asian mystical approach to art making in their 1974 exhibition Towards

a Mystical Reality, The Artist's Village willful engagement with

56 OCTOBER. NOVEMBER 2010 I :~Arts

performance artists throughout the region since the mid nineties, Vee l-Lano's practice articulates a similar long realised conclusion that sol,ely addressing the cultural make up of specific nation-states of Southeast Asia is an untenable lens for reaching into the sociohistorical. psyche of the region,

This may have stemmed from the marginality and seeming constructedness of modern Malaysia and Singapore. Buffeted by larger countries with a seemingly much more confident assertion of their national and historical identities, Malaysia and Singapore seem newly-minted, Thailand, Indonesia, the Philippines, Vietnam, all had a sense of historical destiny that has been much more successfully moulded into a language of national aspiration. Whereas, the multicultural realities of a federated Malaysia and the Chinese immigrant community that makes up the majority of the Singapore population

shitung borders, maritime traffic, shared heritage and political structures, Bul like the dark grey clouds that loom across the seascapes where much of Boogeyman's acrobatic seafarers are set in, the series mark a turn towards a darker and more ominous narrative compared to Vee l-lann's previous digital photographs"

The term 'boogeyman' describes a mythical monster in popular imagination, a shapeless creature' that jumps out of the closet at nigh! to Ir ighten little ch i Idren. On e popu la r argument for the origin of the term associates it with the 'Bugis-Man', a mercenary group of sea warriors of Bugis ethnic origin who roamed local seas ra id i 11g fore ig n trade ships du ri ng the earl y years of European trade in Southeast Asia .. The work Empire of Privateers and their glorious ven tures ill ustra tes thei r seafa ri ng careers a s privateers of the nobles or Orang Beser, they were swords for hire so to speak, a resistance force available to combat against European incursion and disruption of localtrade network.

For the Europeans, these high sea pillaging were tantamount to piracy, and the term bogeyman found its way into popular usage as an expression of irrational fear. Vee l-Lano's Boogeyman is therefore that imaginary object of fear that seethes beneath the apparent calm and control over a particular situation, It is on its most local level a response to the sloganeering campaigns that have shaped societal values. In Malaysia for example, concept of 'bangsa Malaysia' or '1Malaysia' aspire to project a kind of mythic unity that glosses over its apparent lack, The boogeyman evokes a spectral resistance that unmasks the historical power structure sited in this geography,its contemporary resonance and how they play out in the maritime waters, which transact the volatile, and shifting power bases across

... the regiOl1.

Orang, Besar Series: Kain PanjBng with Parasilic Kepala, 2010 Oigftol C"type print on Kodak Enduro paper

82 x 180 em Central 10 Boogeyman is the Orang Beser series, which casts the modern

democratic processes of country in light of its traditional power structure. The Orang Beser translated as the big man (alsointerchangeable with the term Orang Kaya or the rich man) stood as the mediating agent between the apex (represented by the Sultan) and the common man. The measure

germinated a pocket stream of awareness that its immediate borders are never as fixed and as certain as we imagine them to be. For less than a century ago, the world of its denizens and traffic of its cultures, like the buffaloes that wade across the dark waters in A Rousing Account of Migration in the Language or the Sea, weaved a different

pattern of rnigration and mobility.

Therefore one of the most important statements made ill her most recent solo €xhibilioll "Boogeyman" is a carrcgraphical exercise. In Fluid World, the erased land mass creates a relief that places the sea at the center of its narrative, Instead of thinking of oceans as dlviding bodies of water, they are seen as conduits of traffic. The world in which Bcogeyrnan and its most dramatic element exist is not found 011 dry land but on the water ways that brought different cultures, ideas and economies into contact.

Boogeyman can be seen as a. cu 1111 i nation of the a rtist's long-held fa scination wi th the soc i o-po Ii ti ca I history of Southeast Asi a, its

of his influence or power was not an account of his worldly wealth, but by the number of persons dependent on him. Th is control over a sizeable population gave him a prized labour force through which he may realise various undertakings and sought a political base or leverage against the competitive intrigues of the court'.

This traditional. system of measuring political power in terms of headcounts flavors today's democracy in the region. Looking at the unstable clusters of human pyramid that narrates Kain Panjang with Parasitic Kepala, one draws parallel between the huddled formation and the kind of volatile and shaky alliances that spillover into today's politics of patronage, The question of patronage is something that reverberates strongly in Malaysian culture today andl-Lanrrs kitschy homage/satire of this culture plays out in the YB series, tightly cropped

~~Art. I OCTOBER. NOVEMBER 2010 57


Orang Besar Series: A Rousing Account or Migration in the language of the Sea, 2010 Digital C-type print on Kodak Endura paper

61 x 61 em each (x 3 pes) [triptych I

photographs of flower brooches that are normally pinned onto the shirt of important politicians who attend a particular event in the capacity of a VIP. The florid and arabesque portraits of different plant live, seem to ,uggest an organic representation of excesses. There is an element of ostentation and camp in these photos when viewed in the context of how patronage has continued to exist in Malaysian society.

But what makes the Orang Bessr series a remarkable leap from the vocabulary of Vee l-Lann's previous exploration of digital


Malaysia Day Commem"'8tive Plates (Malaya. Saban. Sarawak, Singapore) in collsboration with Royal, Selanqor, 201;0

Pewter, 25.4 em each (diameters)

photograph is her ability to combine the former with batik.

As a textile tradition unique to the region, the batik medium carries a potentially subaltern agency. Because batik production i, traditionally recognised as a women's craft, this inscription lends a female commentary that is able to throw into relief the negotiation of power from an alternative vantage point.

More importantly, this method of storytelling draws upon the narrativity of batik, which is seldom acknowledged or recognised .. Popular


assumption that visual pattern of the batik is solely ornamental fails to acknowledge the coded vocabulary that batik carries. Traditionally, each motif symbolises specific events in Javanese courtly life - war, birth, marriage, death, Though w<; also find how ill its modern usage, such

as the badminton racket became a motif to commemorate Malaysia'S victory in the Thomas Cup, how batik documents our modernity,

ltls also through the batik's very materiality, its measurement of length that I· Lann is ab Ie to rechari her horizon in sartorial terms. Curator Beverly Yong identified, in an article for PhotoAriAsia magazine in 2008, traced the genesis of the horizon to l-Lann's Malaysiana series. In these works, the artist took photographs from the archive of a photo studio and arranged them according [0 typologies that celebrated various rites of pas5ages in Malaysia. The grid like effect of her arrangement achieved a kind of uniformity in the way the backdrop, the linoleum floor and the baseboard connect and unify all. these different studio portraits, transforming seemingly private moments, into a national narrative. This continuity draws a horizontal connection among the individual photos.

l-Lann was then able to fully explore this concept during her residency in South Australia, returning to produce the Horizon series,


Ma'iaysi"na Series: Hari Jodi, 2002

Digital print on Kodak Professional paper 165 x 1Hcm

which chronicles the Malaysian dream of the then popular slogan Vision 2020 of former Prime Minister Mahathir Mohammad agaimt the vast expanse of the Australian landscape. This was followed by an alternative account to Malaysian and Filipino narrative of their territories through the staging ofS ulu region's socio-cultural drama in her sequel, Sulu Stories.

Boogeyman takes off from her more recent development beginning with the Kinebelu series made in 2007. Mount Kinabalu, the highest mountain in Southeast Asia, stands as a fixture in the dramatically changing environment around it. I.n all three photographic works, which comprise the series, the mountain looms over its subjects - a legendary female deity (Huminodun), a family portrait (Anak Negerl) and a dystopic vision of the Malaysian state (Kopivosian). Each of these photographs form a horizon belt surrounds the mountain, offering in this instance a paralactic view of her state, revising her previous notion of the horizon as an infinite lateral spread.

This act of encircling, further developed in l-Lann's use of the batik in Orang Beset, also indexes the body politics that come to play within her pbotogrephic tableau. As an article of fashion, it wraps around the body enveloping the wearer within i Is narrative, It seems that in this instance

~~Art. I OCTOBER - NOVEMBER 2010 I 59

Orang Beser Series: The Great Game of Congkak, 2010, digital Ctype print On Kodak Endure paper. 50 x l' 50 em

Kinabalu Series: Anak N .. g~ri. 2007. digital C-type print on Kodak Endu-e paper, 106 x 205 em

that the spatial coordinates through which the horizon has been utilized in l-Lann's practice is atomised onto a level that is sartorially personal.

fluidity of nationalist aspiration and the historical accidents and shifts that shapeit. It becomes poignant when one realises that Singapore was once a partner in this dream.

Perhaps a new element of l-Lann's exploration of the horizon finds

its most powerful expression in the Malaysia Day Commemorative The Malaysia Day Commemorative Plates therefore subvert Just as

Plates, Here the horizon is no longer a visual motif but a conceptual much as they celebrate the newly announced holiday in Malaysia.

cue, Different localities are drawn together by the historical date 16 The country has never celebrated its foundation in the past 47 years

September 1963 carved on each of the four pewter plate which bear the favouring instead Malaya's independence from the British in 1957. The

signatories of the four territories (Malaya, Singapore, Sabah and Sarawak) year 2010 marks the first time the bi rth of the nation was celebrated

coming together to form Malaysia. The historic date marks and links one 011 a national scale, ltis on this day that l-Lann chose to open her

territory to another, mapping the partnership of autonomous bodies in exhibition, affirming not only her solidarity with this recognition but

giving birth to a new country, It is also here that we come to see what the also releasing through this series of work some glimmer of optimism

horizon is for the artist, it is that visual and conceptual 'sight' that is able in an otherwise dark and haunting exhibition marking a small victory

to connect, project and draw fragments of our culture in order to make for the Boogeyman, those resistance fighters in us~

sense of it from a vantage point that is able to look out far ahead, both

spatially and temporally

Because of this, one gets the sense that the series was able to push the meaning of 'Malaysia' toward a larger discourse, one that recognises the

Simon Soon is an independent curator and researcher on contemporary art in So uth east Asia

60 OCTO B ER - NOVEM B E R 201'0 I :~Arts

Artl Basel I Miami Beach 2-51 Dec 110

Vernissage I December 1, 2010 I by invitation only Catalog order I Tel. +12126271999,

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Shadow of Reality:

Photography of Manit Sriwanichpoom

By Ark Fongsmut, translated by Nikan Wasinondh, edited by Samantha Liew

C se ... e. ms to. be S .. lICh. an in .. trinSi.C .. h. urnll. a si n quality that any person who does not have the desire to

know anyth i ng cou Id face rejectio n fro rn soci ety. Curiosity and the need to question lead humanity to information which consequentially turns into new knowledge.

As we move onto the stage of globalization, new information appears infinitely, bountifully, and boundlessly available, blurring the difference between seeking for information and prying for information. Analytically, it seems apparent that the aim in seeking for information is to obtain knowledge, while prying does not necessarily share the same intention. Nevertheless,

both seeking and prying aspire to learn the actual truth about a particular matter.

The question that follows is, are we able to obtain the truth? Hardly anyone seems to be able to attain the truth on every subject, and truth seems to appear in multiple facets that no one person is able to arrive at its actual core. The events of 9/11 a nd the death of Princess Di~na demonstrate how we fall short at

62 OCTOBER. NOVEMBER 2010 I :~Arts

Pink Man em Eueo #1

obtaining facts .. These two incidents flagged off our shift into the new millennium and proclaim our lessened capability in realizing actual knowledge or truth.

The pursuit for truth begets a scientific process of search and discovery. While art, on the other hand, is about and should not assume the role of uncovering the truth. In other words, the expression of reality in art seems to be a corrupted and inappropriate act of its duty. If art is any way a guide to knowledge, it ought to be through its esthetics, acting as an intervention between knowledge and truth. We frequently see the truth in literature achieved through the discourse of concealment, disguise, and distortion. The creator has the liberty to create and intervene with 'reality', shaping it by employing tools of reason and dictating powers. Thus, truth in literature often exists in the plane of the subjective rather than that of the objective.

This ambiguous truth within the abstract is materialized in the work 'This Bloodless War' (1997) Reality is vibrantly reproduced


Pink Man Begins # 7


Horror if] Pink #1

the extreme effects of global imperialism, the unconditional and careless welcome

of globalism by every sector of society,

be it public or private. Economic troubles are compressed to the point of the bubble burst, which then fused into the prolonged infestation of social and cultural problems in the country.

'This Bloodless War' is (I turning point for contemporary photography in Thailand, creating a critical thinking movement within the industry which lip until then has beell largely focused on fine art and documentary phOtography. These works also charged

a crucial confrontation on the roles of artists, who create works based on political concepts, as ethnographers or exploiters,

Siam, Land of Smiles and the Spirit Body in Bright Pink Suit

The relationship between politics and performance art appear to be more closely linked than other art mediums. The significant relationship that Manit has with performance art has formed the photographic series 'Pink Man', the undeniable legendary creation that has enjoyed a prolonged existence in the history of Thai art.

Manit is not the performer nor does he take on the role of a passive photographer, but rather a director of a film production, The performance is carried out as a moving picture captured in still life shots, each episode containing its own contents and interpretations. The film narratives reference the knowledge, experience, and daily life of Manit as a photojournalist, writer, critic, as well as all activist fightillg for justice and equality. The direct relationship he has with the sociopolitical worlel is the reason why a plump man

has been selected to assume the role of

a traveler who ventures and explores the

and reconstructed in black and white photography, where widely territory of art. The 'Pink Man', performed by Sompong Tawee,

published journa listie images are replicated by live performances, to a writer and artist.: s dressedi nab right pl I~ k sui t. H is face is still

transform, communicate, and represent the social conditions before and emotionless, He travels with a supermarket trolley that has the

the burst of the economic bubble in "1997. Manit aims and shoots at same color as his suit. He represents Manit's social criticisms.

~~Art. 1 OCTOBER - NOVEMBER 2010 I 63

Coup d'etat Photo Op, Sept 19; 200&

The appl .. lcation of a single character of the 'Pink Man' to altering simulated situations creates a consistent and tangible identity. 'Pink Man' is the presenter of questions who travel's to various places. He appears when there is an incident of abnormal phenomenon. He looksindlfferently at hi, surroundings, as in 'Pink Man on Tour' (1998), or smiles satisfied by the scene he sees before him in' Horror in Pink' (lO() 1). He pa i nts situation,

in different places, creating uncertain emotions. The relationships between 'Pi Ilk Man' and his surroundings are depicted in the original emergence of 'Pink Man Begins' (1997). The situations include 'Pink Man' as the presenter of the fast food chain McDona.ld's, 'Pink Man' reading a report amidst the crowd of Soi Lalai Sap on Silom road, and 'Pink Man' walking with a lantern, which is a layered image of a historical incident in Thailand prior 10 the change of ruling power in 1932. This work intimately binds the relationship between photojournalism and performance art.

histories to the policv of neo-nationalisrn and, in the photographic conclusion of 'Pink Man', even Thai opera. Implying the kitsch notions of social issues in Thai society, 'Pink Man Opera' (2009) is a fitting finale of all unfinished epic.

The use of 'Pink Man' as the protagonist of a situation presents

a distortion of the truth, where the locations and narratives are symbolically accessible and obvious. Manit had courageously and mockingly simulated an image of reality to portray the distortion of truth, achieved through the usage of actual people as actors, together with the artificial character of the 'Pink Man', The image of a child with hands and feet tied up, awaiting slaughter on the fabric of red, white, and blue is the desperate condition posed in the photographic series Embrvonie (2007). It is a tragedy of reality acted out by the actual victims, and tactfully executed to appear as a staged play on education policy. This is how Manit manages his disapproval of social and political issues. It contrasts with

the preceding works of mainstream art in Thailand at the time, where criticisms were posed directly through color applications or forceful contents, such as an intentionally displayed profanity for immediate visual and emotional impact.

The 'Pink Man' series takes 011 dynamic narratives, with visual symbols employed to represent Manit's social and political criticisms on tourism policies. The traveling 'Pink Man' attracts much attention from the public and tourists but he seems to cause much damage to the country's reputation in relation to Siam as

the land of smiles. The 'Pink MaJ1' works are not meant to be When considering politics reflected in Thai art, one discovers

photographs of beauty and aesthetics. On the contrary, they exist that most of it appears through visual representations or

on problematic narratives, posing conflicts that need to be tackled, narratives. Manit seems to have created a new dimension for Thai

The 'Pink Man' travels into various contexts from Thai political contemporary art ill this era of intense and problematic political,

M (")("TnR~p • NnVFMRFR ?l"l1n I r~Art.


Pink While & Blue #6

economic, and social situations. Natee Urarit is an artist who

a Iso creates work in th is III a riner a nd he ITa s to be mention ed for his use of relevant symbiotic and visual language. Whil.e Natee's artis presented in paintings, Manit's isapparent in the media of performance derived in his photographic series.

The cycle of (superstitious) belief and reality

In August 2006, there was a global, breaking news report on politicians' and businessmen's belief in fortune telling in Asia. The practices are commonly known but their truth and credibil ity are too complicated to determine.

The belief in mysticism or black magic in the present world illustrates the point that t.he media and various technologies are insufficient for us to learn about or believe in the truth of a matter. The inability to access the source or maker of new information along with unstable situations, allow these beliefs to prosper among both the privileges and common people. This is referential to 'Coup d'etat Photo Op' (2006). The atmospheric: image of tourists in the utterly realistic set

is the most perfect product of belief and reality affirmed on the page of Thai history. The happy smiling faces in the image have deceived the press of many countries into praising the peaceful nature of coup d'etat in Thailand. The photograph is unedited and honest, yet it is coated wi th a susp iclon of the truth and normalcy that confronts Manit and his audience alike.

An earlier collection that links to those created before the incident is the series 'Liberators of the Nation' (2006). The image is too colorful to be one of reality from a protest for

jus tice aga ins t the form er pri me m i 11 is ters lack of transparency

in the management of the country. In the series 'Waiting for the King' (2006), Manit chose to portray the narrative of many Thai citizens who would travel anywhere to receive the processions

of His Majesty the King, to be ill His Majesty's presence. Manit had thoughtfully constructed a visual language through the compositions of his photographs. These photographic works are a reflection of reality, but it is a reality of confusion induced by the perp I ex in g eye le of be lief and trut h. Apart fro m I he 'E mb ryoni a,' collections, the three work series are documentations of reality layered with symbols and imaginations. It is as though these unedited photographs contain another truth, disguised by the images on view. As if the artist had rendered a surface image to conceal the actual reality underneath,

In the photography 01 Manit, Ihe discovery 01 truth has been reduced to a shadow of his visual work. The shadow diminishes when light cease. Photojournalism is the essence of Manit's photographic expression, with no interference of additional process or techniques. To ask what Manit is leading us to, the answer is still 'truth' .. However, itis a fragile truth too delicate to handle, a truth that will crumble under our very touch ..

'Manit Sriwanichpoorn: Phenomena & Prophecies' will be on show a.t the Siugapore Art Museum from 7 October - 7 November 2010, as part of the 2nd Singapore International Photography Festi va I.l!!

~~Art. t OCTOBER - NOVEMBER 2010 t 65


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Edh· Sunarso

In the Shadows of History

Carla Bianpoen

In every cit.y• of standin,g, monUll, 1.ents, ar.Che, s and me .. mo. rials abound. Whether to honor war victories, to rekindle memories

of historical importance, or to commemorate the role of personalities who made a mark in the history of their city or

elsewhere, they 'make' the image of a city. But few, if any, have been erected with so much passion and fervor as the monuments made in the ea rly years of Indonesia's capital city Jakarta.

Such is reflected in the book Edhi Sunarso. Artis Pejuang (Patriot Artist). Launched at Salihara Gallery Jakarta on Aug. 14,2010 to honor the sculptor artist of those monuments, Edhi Sunarso, a great part of the book is, however, dedicated to Soekarno, Indonesia's first president. It was Soekarno's flamboyant artistic and nationalist charisma that drove the sculptor to artistic levels he would never have achieved otherwise.

"I would not be where 1 am if it were not for President Soekarno", reveals the sculptor admitting he did not have a clue about working wi th bronze when first asked to make the monument Tugu Selamat Datang (Welcome Monument) at the Hotel Indonesia traffic circle. The year was 1961,

four years after the Dutch under pressure of the United Nations had


EDHI SUNARSO SENIMAN PEJUANG Mikke Susanto (ed.), Suwarno Wise~rotomol Anusapatl, B Mkara T.

Wa rdaya SJ,. Yuke Ardh i atl. Djuli Djatiprambudi, AgU5 Dermawan T .. Aminudin TH. Siregar. Jim Supsngkat Pu bl lshe d by PT. H asia

Kre atila Man ungg a I


Selam at Data n 91 M 0 num en!

80 OCTOBER. NOVEMBER 2010 I :~Arts




" Selamet Detanq Monument at the Hotel

Indonesia roundabout in Jakarta


Detail Sefamat Dat.ang Monument

acknowledged Indonesia as a sovereign state and Jakarta was awaiting 144 contingents to lake part in the 4th Asian Games of -1962.

Sunarso's initial hesitation in accepting the order soon vanished as the charismatic president challenged his national pride, and kept telling him he could do it; and that as a patriot he must. And having been a freedom lighter himself, the spark of patriotic fervorwas enough to enable Sunarso to gain all the know-how needed to just do it. Indeed so energized and enthralled was Edhi Sunarso by the passionate president that that his earlier melancholic tendency transformed into an expressive language he himself may never have foreseen.

Henk Ngantung, artist and deputy governor of Jakarta, had made the sketches, but Sunarso needed to give shape and expression to the monument and the figures on top of it. Sunarso explains how the president knew exactly what he wanted, and did not shy away from showing him and the team of engineers how the figures were to stand and how their expression should be depicted. He would stand in front of them, legs apart, lifting up his arms to demonstrate how the figures should look. The monument features a man and

a woman on a high pedestal, lifting their hands high, the woman holding a bouquet, appearing as if Impatiently waiting for the guests to arrive. it was the first of three monuments that Sunarso was

asked to make in bronze. It was also the first time that bronze was introduced to Indonesia. lt rnarked the rise of Sunarso as a pioneer of bronze, a sculptor of repute.

~~Art. I OCTOBER - NOVEMBER 2010 81


PemMb~""n lri~n BarM, 1963

'I> Detail Pembebasan Irian B arar, 1963

Sunarso captured the president's concept so well, he was asked to do the second monument in that period as well. West Irian had just returned to the Republic's fold and Soekarno wanted a monument. Again Sunarso was successful in capturing the expression the president had intended: a burly figure with bulging biceps, upwardly outstretched arms and open palms his chains broken and his mouth in an expressive outcry of liberation. At a glance it almost resembled a poster Bung Ayo Bung that Affandi had made to order in the time of the Revolution. A third monument was to honor the Indonesian Air Force. Here 100, Soekarno demonstrated before the artist how the figure should appear, ripping off his shirt to pose as Gatotkaca, the mighty figure in wayang stories who can fly without wings. The Dirgantara (Air Force) monument features a semi-human standing

on what looks like a jumping board high up in the air, as if ready to jump into space.

Needless to say, that the artist had to work with the help of civil engineer lr, Sutarni, as well as with the president who regularly came to the site for inspection and intervention.

It was a time when he, Sunarso, and his team had to race against the clock, experimenting with materials and techniques they

had no experience with, and I iving up to the expectations of

a president who impatiently pushed the artistic and technical

82 OCTOBER. NOVEMBER 2010 ! :~Arts


Di'gantara M onum eM

IIDetail Dirgantara Monument

lim its of the arti sts a 11d the civi I engineers. Demanding an all-out effort from all those involved during the turbulent 1960s, did not make it easy for the team. But as Edhi says, they were happy to do so, even if these projects left almost no private time for themselves and their families. And Soekarno, the driving force behind this

all, was even willing to sell his car when finances were failing.

Erected at strategic pi aces in th e city, they became enduring landmarks, while also representing the of public art, or public monuments in the capital city.

The book, including eight essays by art curators, artists and

art critics, and a historian and architect in addition-Suwarno wisetrotomo, Baskara T, Anusapati, Wardaya SJ, Yuke Ardhiati, Djuli Djatiprarnbudi, Agus Dermawan T, Aminudin TH. Siregar, and an interview with Jim Supangkat by Asikin Hasan-is an account of Edhi Sunarso's rise as an artist; how he I ived up to

the expectations of his president whose artistic instincts matched his political power and his passion for nationalistic grandeur, It

also details how he was able to move from his early works of stone and clay to bronze, and how he managed to make other non-commissioned works. Illustrated with sketches and work schemes, and pictures of the works in process, of the president's inspections, the reader is also given an impression of the artist's experiments using simple, traditional techniques. The book

also covers Sunarso/s team of young, similarly inexperienced

but dedicated artists, and his work with civil engineers and art historian s,


Edhi Sunarso was born in Salartga, Central Java, in 1932. He joi 11 ed th e nat io na I independence struggle when he was in his teens, learned drawing from his

inmates while incarcerated for three years. He graduated from ASRI, the Indonesia Arts Academy Yogyakarta in 1955, earned a residency in kelabhawa Visva Bharati University Shantiniketan India. in 1957 and has been active in the sculpture divisions of the


P laster co st of th e Man usia Tefbang with Ed hi Su no rsc 0 nd S. rpomo, 1961


Self,pOflrait, around 1954 Burnt day, lifesi ze

Collection of Education and Culture Depa rtment, J" kart"


The face for the West Irian Liberation Monument, 1964


Elaborations on spatial consi derations in the pia ci ng of the monuments highlight a feature that gives an added insight into the vision that now fifty years on, can be considered fairly modern, even contemporary in installation art, giving due consideration in

the relation of the art work (monument) and spatial positioning. As contemporary art is currently getting hi gil 011 the agenda of connoisseurs, and inspiration derived from local culture is gaining momentum

in art appreciation, the basic concepts of that time amazingly could have been of our time.

Djuli Djatiprambudl's essay elaborates on the

idea of axis in the three monuments which were always placed at the center. The axis in traditional belief is explained as the center of energy or the universe-of order, beauty and truth. The Welcome Monumellt, for instance was constructed in the focus of a circle .. Suggestive of a vortex of energy,

it may also refer to a greater locus, as Soekarno described Indonesia-an archipelago that I ies at the crossroads of va riou S routes.

The West Irian Liberation Monument at Lapangan Banteng is situated right in the center of a squarish locus, thus signifying the axis concept in Javanese philosophy, the pivot point that guides the four compass points. Similarly, the Air Force or Dirgantara monument was built at the crossroads in the Pancoran area. Sadly, the space around the monuments has been drastically reduced through construction of buildings around it, like in the case of the Welcome Monument, or by enlarging of highways as is the case with the space around the Dirgantara monument

Although the pictures are of lesser quality, the spirit of the time is tangible. The wealth of information including the philosophical thought behind the designs of monuments, the political turbulence at

the time, and the nationa I ist force that inspi red the development of art, makes the book of 317 pages, written in lndonesian and English, an asset to art documentation. It would have made it easier for

the reader, however if there had been a table of contents. The book was edited by Mikke Susanto and published by PT Hasta Kreatifa Manunggal.

art schools in Yogyakarte and Surakarta,~

84 OCTOBER. NOVEMBER 2010 I :~Arts


Indonesian Disjunction at Kendra Gallery


Bornin Pacitan, Indonesia 8 July 1976


201 0 Bazzart, Langgeng gallery, Jakarta, Monoprint, Andi"s Gallery, Jakarta. 2009 Biennale 2009, Yogyakarta National Museum, Exposigns, JEC,

Yogyakarta, Spacing Contemporary, JAF 1t2, Taman Budaya, Yogyakarta.

2008 Grafis Indonesia Sekarang. Tembi Contemporary, Yogyakarta, Utophia Negativa, Langgeng Gallery, Magelang.

2007 Pameran, Srisasanti Gallery, Yogyakarta, Artvertising, Jakarta National Gallery.

2006 Time & Signs, Grand Opening Exhibition of Vanessa Art Link, Vanessa Gallery Jakarta.

2005 Pameran Seni Rupa Pra Bali Biennale, Afandi Museum Yogyakarta, Summit Event Bali Biennale, Galeri Toni Raka, Ubud Bali.


2005 Nyoman Gunarsa Prize for Graphic Art Work 151 Yogyakarta.

2003 Indonesia Asean Art Award one of the ten winners, TIle Second winner ofTrienal Seni Grafis lndonesia. 2001 Finalist of Philip Morris Indonesia Art Award.

2000 The best work of Dies Natalis XVI lSI Yogyakarta.

2004 Merahnya Merah, Nadi Ga Ilery Jakarta, Sayap Kala Sayap Warna, Langgeng Gallery, Magelang.

2003 Indonesia Asean Art Award 2003, Sekretariat Asean Jakarta.

2002 Graphic Art Exhibition "Eksplorasi Medium, Bentara Budaya Yogyakarta.

200r The Philip Moris Indonesia Art Award 2001 at

Nasi ona I Gall ery Jakarta.

Love Lou d, 2010, a cryl i c on canva s, 200 x 140 em



2010 Monster Goes Out At Night, D'gallerie Jakarta-Solo Exhibition, Google chrorne-cornrnissiored artwork, Garffiti. asia booklawrence king publishing, Wal I street art exhibition at Salihara Jakarta-Group show, Bazaar Art Exhibi.ti.on-D'gallery, Jakarta, Bazaar Art talk at Ritz Carlton Jakarta-Medan Penciptaan perupa baru, Zootatohead, Potatohead Jakarta-live painting.

2009 Happen MagaZine-Cover Illustration, Mercedez Benz, ExhibitionLive painting on car, Monster ill Disguise, Si ngapore- Solo

Exh ibition, Jakarta Street Art Un ited-Artwork, Indonesia UniteTsh irt Artwork, Qu inti n Show, Shibuya Japan-Artwork, Loubelle Munny Show, Bandung-Custom Toys, Nike (RED) lace up save lives-Installation.

2008 Streetthing all in the family kuala Lumpur, Malaysia-Live painting and artworks, Ogilvy Jakarta wall-wall painting. 400ml exhibition Paris france-artwork, Indodance festivallive painting.

2007 Notorious Exhibition-live painting.

Streetplan Manila-artwork, Massiveterritory J ka rta -artworks and live pa inti ng. Shoutout logjakarta B ienalle-instalation, The brandals cover album-brandalismei II u stration and art direction.

2006 RC toys exhibition-commissioned custom toy and artwork, 707 this is not a toy exhibition-custom toy and shi rt design, Radioactive clothi ng Malaysia-judges for the regional T-shirt design competition, Sneakerpimps Jakarta-custom shoes and live painting. Artwork collaboration with ericorr-jkt x ny connection.

2005 Ranger bastards exhibitioncornrnisioned artwork.

2004 Monstar warz book-commissioned arwork for koadzn project.

Mon" 2010, mixed media latex, spraypaint, acrylic 300 x 100 em


Bornin Klaten, Central Java, Indonesia 25 January 1974

IIGod I, My Br.h, 2010, acrylic. on canvas. 200 x 150 em

86 OCTOBER - NOVEMBER 2010 I :~Arts

Group Exhibitions

2010 Crossing and B lurri ng the Boundar.i es, Galeri Nasicnal, Jakarta, Indonesia, Percakapan Massa, Galeri NasiOllal, Jakarta, Indonesia, Comical Brothers, Galeri Nasional, Jakarta, Indonesia, Transfiguration, (Galeri Sernarang) JAD Grand Indones i a, jakarta, I ndonesia.

2009 Guru oernar bakrie, Jogja Callery, Yogyakilrta, Indonesia, North Art Space, NAS Gallery, jakarta, indonesia, In rainbow, Esa Sarnpoerna, Surabaya, Indonesia, Borderless World, 2nd Anniversary Sri Sasanti Gallery, Taman budava Yogyakarta, vogyakarta. Indonesia I JAF 1t2, Taman Budaya Yogyakarta, vogyakarta, Indonesia, Topology of flattness, Edwin Gallery,

jakarta, Indonesia.

2008 Space! spacing, Sernarang Gallery, Semarang, Indonesia, Lullaby ll, Langgeng Calery, Milgelang, lndonesia, Milnifesto, National Gallery, jakarta, lndonesia, Boys or Toys, Srisasanti Gallery, Yogyakarta, Indonesia, Boys and Girl" Edwin Gallery, [a karla, I ndonesia.

2007 Biennale IX Yogyakarta 2008, Nee-Nation, Sangkring Art Space, Yogyakarta, I ndones ia, Portofolio, 'l st An niversav

of Jogja Gallery, jogja Ga.llery, Yogya.karta., Indonesia,

Boeng Ajo Boengl 100 Tahun Affandi, Taman Budava vogvakarta, vogyakarta, lndonesia. Force Majeure, International Literary Bienal.le, Langgeng Gallery, Magelang, indonesia,


Born in Gunungkidul, Indonesia 20 October 19132

langgeng gallery, Magelang, Ganti

oli Contemporary Painti Ilgs fro III Indonesia (Collaborative works with wedhar riyadi), Valentine Willie Fine Art Singapore.

2007 B iennalle Iogja, Neo Nation, logja National Museum, Yogyakarta, Shout Out; FKY XIX 2007, Taman Budaya Yogvakarte. Get It (W)~II, Lernbaga lndonesi a Pra nc i s, Yogya ka rta, Insert Character, Kedai Kebun Forum

Yogya ka rta, Dec~dence 02, 2010, acrylic on canvas,

2006 M idn ight Mura I 80 x 110 em

Project, Taman Budaya Yogyakarta, Paper soles, Viavia

Cafe Yogyakarta, Diskornfest 1, graphic design exhibition, Vredeburg Yogy.;tkarta.

Solo Exhibition

2008 Dynamic Duos, Langgeng Gallery, Magelallg.

Selected Group Show

2010 Art Jog (with I i berated studio], Yogyakarta, Bazzar Art la ka rta 2010.

2009 Biennale [ogja, 2009, log]a jamming, Young Emerging Asian Talents, ART SEASONS Jakarta, cross piece C/P (with fesrivallst), galeri canna Jakarta, Bazaar Art jakarta 2009, Paciiic Place Ritz Carlton, JAF 2, Yogyakarta., Magnetic

(rn USIe, vi cleo and vis ua I art exhi bi tion), B orobud ur pia za Yogyakarta.

2008 Hello Print, Edwin's gallery, Jakarta, Utopia negatlva,

2008 Freedom in Geekdorn, Nadi Gallery, Jakarta, Jogja Art Fair, Taman Budaya Yogyakarta.

2007 Slack Urban Art, Bandung, Jakarta, Surabaya, dan Yogyakarta, IVAA BookAid, Nadi Gallery, Jakarta, Shout Out,

FKY XIX 2007, Taman Budaya

Yogyakarta, Gel It Challenge Aft", School, 2010 .• cryhc on canvas

(Wa 11), Lembaga 170 x 145 cm


Perancis, Yogyakarta,. Soulmate, Art Sociates, Jakarta.

2006 '·'Serangan Sendu Bulan Gerimis", Kafe Deket Rumah, Yogyakarta. 2005 September Something #2, Kedai Kebun Forum ..

2004 Murky Moral, Autralia National University, Canberra, Australia. 2003 Daging Tumbuh, Harta Karull Dihawah Gedung Bioskop,

Explori ng vacuu III # 2, Cerneti Art House.

2001 Performance Art, Celano Dalalll dan Alibi, Jakarta.


Bartl in Slerna n, lndonesia 17 December 1979

~~Art. I OCTOBER - NOVEMBER 2010 I 87

Solo Exhibitions

2009 Two Shoes lor Dancing, Project Room VWFA, Kuala Lumpur, Malaysia ..

2006 The Last Fortress, Via Via Cafe, rogyakarta.

2005 MenLrju Matahari Terbenam, kale deket rumah, vogvakarta,

Group Exhibitions

2010 DRAW Project, Curated by Erik Foss and Curse Mackey, Mexico City-Museo de la Cuidad de Mexico, Six by Six Project, Cha rrningwall Gallery, New York.

2009 The Rainbow, Sampoerna Art House, Surabava, Survey 2, Edwin Gallery, Jakarta.



b. Purworejo, 1972, Indonesia

I swanto Hartonois actually an experienced artist particularly as participant of art residency program and exhibition at prestigious places in foreign countries. Unfortunately, his reputation goes unnoticed by art observers and critics in his home country,

mostly because he works more on non-commercial basis which is sometimes considered second class in the world of Indonesian art.

His social. background as an architect in Jakarta has probably prevented him from making a too serious involvement in the world of Indonesian art in which artists from rogyakarta, Bandung, and Bali prevail, So, this exhibition project at Caleri Canna becomes his first 5010 exhibition held at a non-alternative place.

When studying architecture ln Sandung. Iswanto started making friendship with artists. His interest in installation art is much developed by his exposure to rooms in the study of architecture. One of his works that is easy to remember is the work he showed in Soemardja Gallery, Bandung, It was an airplane frame made of iron and blue lamp. This work was then showed at two other places, Bali and Na~ tional Gallery Jakarta.

His experience as residency program participant, as when he was participating in, let's say, Vermont Residency Center in USA, or Tokyo Wondersite in Japan, and in several other places in Europe, has increased his knowledge about the trend and new tendency in global art. He has visited lots of places where the world's high class artists show their works produced with mature skill and good concept. This good concept, in lswanto's opinion, shows not only its ability to carry ideas powerful to explain the used metaphors but also the works' relevance to the social reality. "We can always feel the relevance of a work to its social context as far as it is produced with powerful concept," he said.

With his believe in such a conception, [swan to seeks and focus to

the primary concept of his works. His interest in historical archives has enabled him to work on issues in history, particularly on the issue of post colonialism and the relation between the West and the East. He has also tried to develop the same theme in relation with local perspective of the society where he was doing his residency program. For him, this strategy proved helpful as he can deal with same theme in different perspectives. For the benefit of contemporary life, what lswanto has done with works is always relevant and interesting,



Raffles5, Gold (Portrait Series). oil on canvas. 1 SO x 150 em

Weslerllng, Geld (Portrait Series). oil on canvas, 150 x t 50 em

and how civilization is distributed to remote places. What is interest-

His interest in the matter of identity and post colonialism, I think, has ing about this matter is the process by which local culture and belief

something to do with his position as Chinese Indonesian who is also are confronted and negotiated with new things so as to accommodate

a Dutch descendant. In this position he experiences at first hand what new ideas and forms

is called the origin mixture. He has by himself traced back the origin of his identity, and finds it interesting to work 011 such a personal history. "II is from my own history and from the family archives that I get a lot of interesting cultural artifact coming from various backgrounds."

In his recent development, lswanto is much interested in the issue of maping to see especially how zones are controlled and possessed,

88 OCTOBER. NOVEMBER 2010 I :~Arts

As about medium, he is interested in various materials, ranging from wood, iron, to cartoon. lswanto has much worked on installation that has simple kinetic, more to show that his works are dynamic, To him, works of art are always the response to the dynamic of time and space. He has always tried to make his works flexible toward these

dimensions ld


20-23 JANUARY, 2011


84 Galleries from 21 Countries to exhibit at lndiaArt Summit'" 2011

1 x I Art Gallery (Dubai, UAE) I Aicon Gallery (New York, USA) I Akar Prakar Art (Kolkata, India) I Apparao Galleries (Chennai. India) Archer (Ahmedabad, India) I Art 18121 (London, UK) I Art Alive Gallery (New Delhi. India) I Art Konsult (New Delhi, India)

Art Lounge Gallery (Lisbon, Portugal) I Art Musings (Mumbai, India) I Arteria (Montreal. Canada) I arts.i Religare Arts Initialive (New Delhi. India) Arushi Arts (New Delhi. India) I Beck + Eggeling (Dusseldorf, Germany) I Carbon 12 Cubai (Dubai, UAE) I Chatterjee & Lal (Mumbai, India) Chemould Prescott Road (Mumbai, India) I CIMA Gallery (Kolkata, India) I Cymroza Art Gallery (Mumbai, India) I Delhi Art Gallery (New Delhi, India) Choomimal Gallery (New Delhi, India) I Die Galerie (Frankfurt, Germany) I Easel (Guwahali, India) I Experimenler (Kolka!a, India)

Flo Peters Gallery (Hamburg, Germany) I Galerie Baudoin Lebon (paris. France) I Galerie Beatrice Binoche (St. Denis, Reunion Islands) Galerie Christian Hosp (Berlin, Germany) I Galerie Frank Elbaz (Paris, France) I Galerie Kashya Hildebrand (Zurich, Switzerland)

Galerie Krinzinger (Vienna, Austria) I Galerie Mirchandani + Steinruecke (Mumbai, India) I Gallerie Alternatives (Gurgaon, India)

Gallerle Ganesha (New Delhi, India) I Gallerle Nvya (New Delhi, India) I Gallery 88 (Kolka!a, India) I Gallery Art Motif (New Delhi, India) Gallery Beyond (Murnbai. India) I Gallery BMB (Mumbai. India) I Gallery Espace (New Delhi, India) I Gallery Maskara (Mumbai, India) Gallery Open Eyed Dreams (Cochln. India) I Gallery Sanskriti (Kolkata, India) I Gallery Soheon & Soheon Contemporary (Daequ, Korea) Gallery Sumukha (Banqalore. India) I GalierySKE (Bangalore, India) I Greenaway Art Gallery (Adelaide, Australia) I Grey Noise (Lahore, Pakistan) Grosvenor Gallery (London, UK) I Indigo Blue (Singapore) I Ivanna Veiherte Art Gallery/Art Gallery 21 (Riga, Latvia)

Kumar Gallery (New Oelhi, India) I Lakeeren (Mumbai, India) I Latitude 28 (New Oelhi, India) I Lemongrasshopper (Ahmedabad. India) Lisson Gallery (London, UK) I Nature Morte (New Delhi. India) I Neilson GaUery (Grezalema. Spain) I Palette Art GaUery (New Delhi. India) Paradise Row (London, UK) I PHOTOINK (New Delhi. India) I Project 88 (Murnbai. India) I Rob Dean Art (London, UK)

Robert Bowman Modern Gallery (London, UK) I Sakshi Gallery (Murnbai, India) I Seven Art Limiled (New Delhi, India) Shonandai MY Gallery (Tokyo, Japan) I Shrine Empire Gallery (New Delhi, India) I Stark & Grani! (London, UK)

Sundaram Tagore Gallery (Hong Kong, China) I Tamura Akio Gallery (Tokyo, Japan) I Tao Art Gallery (Murnbal, India)

The Drawing Room (Makati City, The Philippines) I The Fine Ar! Company (Mumbai, India) I The Gallery of Gnani Arts (Singapore) The Guild (Mumbai, India) I thejamjar (Dubai. UAE) I The Loft (Mumbai, India) I Thomas Erben Gallery (New York, USA) Threshold Art Gallery (New Delhi, India) I Vadehra Art Gallery (New Delhi. India) I Volte (Mumbai, India)

Willem Baars Projects (Amsterdam, The Netherlands) I Wonderwall (New Delhi, India)

W: E: info@indiaartsummi!.com T: +91 11 4711 9807

Ind CI Art SUr"!'lIrllll•.1IS produceo l;y fOL r1t~ dimension Expenentrat Marketing Pvt Ltd

Med1a Partners

Sothebys ,


TITEAt.f'~~PAPER F1ashArt canvas



ORI.ENTATIONS CII,III,tI!lj.1mIfIm Aesthetica



.m ~'1urua.lArU:{Ull


Corn:ie rge Pa rtner

COUli" r Partner



Collection of Wendy I'!n.& Paulus Sutrisno


Was born in Bandung, May 12,h,1980, Received his degree from the Faculty of Fine Art and Design, Bandung Institute of Technology in Bandung, lawa Barat. In 2006 he took up the residency program on the Teaching and Visiting Artist Program at the Visual Studies Department, University of Karachi, Pakistan.

Since 2001, his work have appeared in group exhibitions Bandung, Ia karta, Bali, and Beijing. in recent years he participated in the folowing group exhibitions: "Mosaic" GRIP",Va,nessa Ar tlink, 798 Art-Districts, Beijing,China; Beyond Islam", ISLAMIC Section, Art jakarta: "A MAZE-MaIiArt ", Pacipic

90 OCTOBER. NOVEMBER 2010 I :~Arts


Artist as Traveler through Leonid Tiskov. 2008 Oil on canvas 120 x 180 cm

Place, jakarta; "Munggah", Garasi-j O.IlRebana 10, Bandung; "Veduta, Bandung Initiative ltV", Vanessa Artlink, jakarta; The Mist; Reflection on Indonesian Contemporary Art, Lawangwangi A rt an d Sci e nee Estate, Ban du ng·1 ndonesi a; "0 ua kota, 0 ua Cerita", Bandung-Jogja Artist exhibition. Semarang Gallery, Semarang, Indonesia; "Magainin", Grand Opening Jakarta Art District, Jakarta and "Sign and After Contemporary Islamic Art", Lawangwangi Art and Science Estate, Bandung.

In 2006 he held his solo exhibition, "Karachi Grid", at VM Art Gallery, Karachi, Pakistan, supported by vast-Art. His latest Solo, "Op.Cit", at MonDecor Gallery, Jakarta was held in 2009,!.'!!

Venues Services Events Artists




Last Words, participati ng artists Alfredo and Isabel Aquillzan, Patty Chang, Will French, Young Sun Han, Meiro Koizumi, Tatsumi Orimoto, Shen Shaomin, Sumugan Sivanesan, Kiran Suhbaiah, Tintin Wulia

3 September - 1 6 October 2010

GAllERY 4A - Asia-Australia Arts Centre

1 81-187 Hay St (between Pitt & George Sts). Sydney 2000 T. 2 9212 0380, F. 2 9281 0873, E. i


Robert Adams: The Place We Live, A Retrospective Selection of Photographs

25 September 2010 - 16 january 2011 Eve ryth ing Everyday

2 October 2010 - 23 lanuary 2011 Song Dong: Waste Not

2 October 2010 - 16 january 2011


Post Narration I, partici pari ng a rtists ling Kewen, Guo Tao, li Wei, Guo Shilling, Ye Nan, lustin Ponmany, U [lkai, Yang Na, He Sen, THEY

25 September - 30 October 2010

Beyond Art Space

798 East Street, 798 Art District, No.4 jiuxianqiao Road, Chaoyang District, Beijing 100015

1. 86 1059789579, E. beyondartspacessgrnail.corn www.beyondartspace.corn

Xie Guopingi A Floating Life

25 September - 22 October 201 0 Red Gate Gallery

Levels 1 & 4, Dongbianrnen Watchtower, Chongwenmen, Beijing TfF. 86 106525 1005, www.redgategallervcorn

1m on the Road to ... .participating artists Gao Yingchun, Morgan Wong, Liu Fang, Li Hongbo, Zhai Liang, Zhao Na

23 October - 26 December 2010


No.241-15 Cao Chang Di Art-Zone, Chaoyang District, Beijing, 100015 T. 86 10 5127 3267/68, F. 86 10 5127 3268, E.illfo@mizuma-one,mm

An Unexpected Turn of Events: CHEN Shaoxiong - Tsuvoshi OZAWA 10 September - 1 5 October 2010

Osage Shanghai

93 Duolun Road, Hongkou District, Shanghai 200081 1. 86-21 5671 3605 E www.osagegallery.corn


Jittish Kallay: likewise

6 October - 4 December 2010 Arndt

Potsdarner Strasse 96, D-I0785, Berlin

T 49 30 206 138 70, E 49 30 206 138 72 0, E. in



19 August ~ 21 November 2010

Museum of Contemporary Art, Sydney 140 George Street, The Rocks NSW 2000

1. 61292452400, E 612 92524361, E, mail@mca,com,au

Heather and Ivan Mor.ison: Offsite 2 October 2010 - 6 March 2011 Vancouver Art Gallery

750 Hornby Street, Vancouver, BC V6Z 2H7 T 604 662 4719, 604 662 4700

Learning from the Literati, participating artists Sayaka Abe, Chen Hangfeng, Girolamo Mani, Gao Mingyan, [i Wenyu&Zhu, Qian Rong, Shi linsong, Shi ling

':I September 2010 - 17 October 2010

Oriental Vista Gallery

19 Shao Xing Lu, Shanghai 200020

T 8621 5465 7768, F. 86 21 5465 7769, E. pr@ovgallerycom

3,720, recent works by Wang Tiande 18 September· 23 October 23, 2010 Chambers Fine Art

Red No.l-D, Cao Changdi, Chaoyang District, Beijing 100015 T. 86 10.51273298, E,

Xu Heng Solo Exhibition

11 September - 15 November 2010 F2 Gallery

No, 319 Caochangdi, Chaoyang District. Beijing, 100015 T. 86 1064328831, E,

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The Fading Sun: Zhang Lin Hal

15 October - 20 November 2010 Schoeni Art Gallery (Main Gallery)

21-31 Old Bailey Street, Central, Hong Kong

T. 852 2869 8802, F. 852 25221528, E.

Lui Chun Kwong: You Are Here, I Am Not. From Ho Siu Kee 10 Kong Chun Hei

19 September - 7 November 2010 Osage Kwun Tong Gallery

5/F, Kian Dai Industrial Building, 73-75 Hung To Road, Kwun Tong, Kowloon, Hong Kong

T. 852 27934817, F. 852 30072988, E. www.osagegallery.corn

Group Exhibition, participating artists Alfredo Aquilizan, Maria Isabel Cruz, Jordin lsip, Louie Cordero, Mac Valdezco, Mike Arcega, Roberto M.A. Robles

6 September - 1 0 October 2010 Osage Soho Galler)'

I N DON ESIA.....;;;___~_-------'


19 October - 20 November 20.2010 TROMARAMA

23 November - 12 December 12, 2010 RIA PAPERMOON - IWAN EFFENDI

14 December - )4 anuary 4, 2011 Tembi Contemporary

II. Parangrritis KM 8,5, Bantu], Yogyakarta

T. 62 274688 1919, E. tembiconternporarv.corn

Mitos Kecanlikan, participating artists Alit Suaja, AS Kurnia, Cundrawan, Hendra Kusuma, Nyoman Wijaya, Polenk Rediasa, Tatang BSP, Wayan suja, Gede Puja

1 October - 29 October 2010 Green Artspaee


Sterling Ruby: New Works

1 8 September - 1 6 October, 2010 Kyoko Murase

30 October - 20 November, 2010 Taka Ishii Gallery (Tokyo)

1-3-2-5F Kiyosumi, Koto-ku, Tokyo H135-0024 T 81 (0) 3-5646-6050, F. 81 (0) 3-3642-3067, E.


Gabriel Orozco, Selected Works 26 October - 30 November, 2010 P K M TRINITY GALLERY

The Trinity Place Bldg. B2/B3

79 Cheongdam-dong, Gangnarn-gu, Seoul, 135-954

T 82 2 5159496, F_82 2 515 9467, E_ info@pkmgallery_corn

94 OCTOBER - NOVEM BER 2010 I ~Art.

45 Caine Road, Lower Ground Shop 1, Corner Old Bailey Street, Soho, Central, Hong Kong

T. 852 25370688, E.

Merrill Wagner'

27 October 2010 - 27 November 2010 Sundaram Tagore Gallery

57-59 Hollywood Road, Central, Hong Kong

T. 852 2581 9678, F. 852 2581 9673, E.

Hung Liu: Za Zhong

7 October - 30 October 2010 10 Chancery Lane Gallery

G/F, 10 Chancery Lane, SoHo, Central, Hong Kong

T. 852 2810 0065, F. 852 2810 0063, E. i nfo@1 Ochancerlanegallery.ccm www.l Ochancerylanega

I I. Abdul Maj id Raya No. 46A, Cipete, Jakarta 12410 T. 62 21 7692778

Bandung Art Escapade

An Art tour dubbed the Bandung Art Escapade is being organized by BMW, Christie's and Credit Suisse on 15-17 October '10. Participants will visit artist's studios, collector's home and meet with other art collectors. This event takes place in conjunction with the art community in Bandung celebrating one of Indonesia's most influential old master painter, S. Sudiojono.


24 September - 30 October, 2010 Taka Ishii Gallery (Kyoto)

483 Nishigawa-cho Shimogyo-ku Kyoto #600-8325

1. 81 (0) 75 353 9807, F. 81 (0) 75 353 9808, E. kyoto@takaishiigallelycom www.takaishiigallery.corn

Anselm Reyle

9 October -I 0 November 2010 Kukje Gallery, Space 2

Sogyeok-dong 62, Iongno-gu, Seoul, 110 - 200

T. 82 2 733 8449, F. 822 7334879, E. kukje@kukjegallerycom


Ayu Arista Murti: Cloning Carden 29 September - 19 October 201 0

3 Young Contemporaries: Chi Too, Minstrel Kuik and Shaifuddin Mamat aka Poodien

22 October - 13 November 2010


TONY TWICC: The Entropy Shuffle and Other Compositions from the Vibration

9 October - 2 November 2010 CALLERIA DUEMILA

210 Loring 51.1300 Pasay City Metro Manila

T. 632 8319990, F. 632 833 9815, E.

River of Our Dreams: Frankie Callaghan 2 - 24 October 2010

Poklong Anading, Louie Cordero and Broke 16 October - 10 November 2010

Group Exhibition, featuring works by Coetz Arndt, Claus Carstensen, Caston Damag, Curro Gonzalez, David Criggs, Dr. Lakra, Manuel Ocampo, Albert Oehlen, Gerardo Tan and Pablo 5iquier

13 November - 5 December 201 0

The light Show

11 December - 9 January 2010 Manila Contemporary

White,pace 2314, Chino Roces Avenue, PasongTamo Extension. Makati City T. 632 9068712 E. rnani


Cheong Soo Pieng: Bridging Worlds 16 September - 26 December 2010 Credit Suisse: Innovation In Art Series Natee Utarlt: After Painting

1 October 201 0 - 13 February 2011 Singapore Art Museum (SAM)

71 Bras Basah Road, Singapore 189555 T. 65 6332 3222, F. 65 63365361

Andy Warhol: The Uniques

30 September· 4 December 2010 Collectors Contemporary

5 Ialan Kilallg Barat #01-03 Petro Centre Singapore 159349

T. 65 68780103, F. 65 68780041, E.

Wire Tuazon: The Shape of Water 8 - 23 October 2010

Artesan Callery + Studio

793 Bukit Timah Road #02·01, Singapore 269765

T. 65 6469 7818, 65 9842 781 7, E.

Thukral and Tagra: New Works by Thukral and Tagra 18 September - 16 October 2010

Jimmy Ong

29 October - 27 November 2010

Valentine Willie Fine Art

1 st Floor. 17 [alan Telawi, 3, Bangsar Baru, 59100 Kuala Lumpur 1. 60 3 2284 2348, F 60 3 2282 5190, E. il1fo@vwfa.l1et


4 - 23 November 2010 Valeria

9 - 31 December 201 0 Finale Art File (Tall Callery)

Warehouse 17, La Fuerza Compound (Gate I ) 2241 PasollgTamo, Makati City T. 632 81 3 2310, 812 5034, F. 632 810 4071, E. i


12 - 30 October 2010 ANNIE CABICTINC

4 - 23 November 2010 KEIYE MIRANDA

3 - 31 December 201 0

Finale Art File (Upstairs Callery)

Warehouse 17, La Fuerza Compound (Gate 1) 2241 Pasong Tarno, Makati City T. 632 81 3 2310, 812 5034, F. 632 810 4071, E. i

Singapore Tyler Print Institute

41 Robertson Quay, Singapore 238236

T. 65 6336 3663, F. 65 63363553, E.

Illuminance: Agus Suwage & Filippo Sciascia 27 August - 14 November 2010

NUS Museum

University Cultural Centre

50 Kent Ridge Crescent, National University of Singapore, Singapore 119279 T. 65 6516 8817, E.

WW1N. .sg

Narratives of the East: Zheng Yu Kui and Song Xiao Ling 9 -31 October 2010

Mulan Gallery

19 Tanglin Road 1/02-33, Tanglin Shopping Centre, Singapore 247909 T. 65 6738 0810, E. enqui ry@lnulanga[

Manit Sriwanichpoom: Phenomena & Prophecies Curated by Ark Fongsmut

7 October - 7 November 2010

Co-presented by Singapore International Photography Festival and Singapore Art Museum

Venue: Singapore Art Museum, 8Q Level 3





Anwar Iala Shamza: Take 2 The British Landscape 10 September - 22 October 2010

Green Cardamom

Sa Porchester Place, London W2 2BS

T" 44 W)20 7402 7125, E,


Manuel Ocampo: An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination

1 6 September - 30 October, 2010

Ttffany Chung: scratching the walls of memory 4 November 201 0 - 8 January 2011

Tyler Rollins Fine Art

529 West 20 Street, lOW New York, NY 1 0011 T. 21 2 229 9100, E. i


AFRUZ AMIGHI: Angels in Combat 21 September - 28 October 2010 Farideh Lashai: Rabbit in Wonderland 31 October 2010

Gall ery t sabe lie va n de n Eyn de


Busan Biennale

11 September - 20 November 2010 Busan City Hall

1000 YonSan 5-dong, Yonje-gu, Busan, 611-735 Organizer: The Busan Biennale Organizing Committee E. hello@busanbieliliale,org

www.201 O.busan bienna

Gwangju Biennale

3 September - 7 November 2010


Christle's Hong Kong Auction

Asian Contemporary Art & Chinese 20th Century Art (Evening Sale) 27 November 201 0

Asian Contemporary Art (Day Sale) Chinese 20th Century Art (Day Sale) 28 November 2010

Southeast Asian Modern and Contemporary 29 November 201 0

Christie's Hong I(ong

22nd floor Alexandra House, 18 Chater Road Central, Hong Kong 1. 852 2521 5396, F. 852 2845 2646. www.christies.corn


Art Singapore 2010

8-11 October 2010 Suntec Singapore, Level 4

96 OCTOBER. NOVEM BER 2010 I ~Art.

Yoshitomo Nara: Nobody's Fool

9 September 2010 - 2 January 2011 Asia Society and Museum

725 F'¥k Avenue (at 70th Street), New Yo,.-k, NY 1 0021 T. 2122886400, F. 212 517 8315 http;//asiasociety,org

P. O. Box 1821 7 AI QUOl. 1, Dubai

1. 971 (0) 4 323 5052, F. 971 (0)4 323.6761, E info@ivde.n<:01

Shanghai Biennale

24 October 201 0 - 28 February 2011

Taipei Biennale

7 September - 14 November 201 0

Sotheby's Hong Kong Auction

Modern and Contemporary Southeast Asian Paintings 20th Century Chinese Art

Contemporary Asian Art

4 October 2010

Venue: Hong Kong Convention and Exhibition Centre (New Wing) Sotheby's Hong I(ong

Suites 3101 ~31 06, 31/F, 1 Pacific Place 88 Quecnsway, Admiralty, Hong Kong

1. 852 25248121, F. 852 28106238.

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Since 1987, Societe Generale has been nurturing talents and sharing passion in contemporary arts and classical music .. The Societe Generale Chinese Art Awards 2D10 aims to offer emerging chinese contemporary artists international vlslblltty and a gateway to widely showcase their talent. The award is open to citizens of China ER.G., Hong Kong, Taiwan and Macau with the maximum age of 35 years old. Paintings, drawings,. photography or videography are welcome with 3 major prizes to be won (2 jury prizes of €15,OOO and €7,OOO plus a prize voted by public of €7,OOO). All nominees shortllsted by our well renowned art jury will be offered the chance to profile their artworks in the international exhibition in Beijing, Hong Kong, Taipei, Paris and possibly Shanghai, Singapore and Tokyo.

To submit your artwork or for more information, visit


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