This action might not be possible to undo. Are you sure you want to continue?
Burton Morris - Chanel Green
ANDY WARHOL DAMIEN HIRST KEITH HARING YAYOI KUSAMA BURTON MORRIS TAKASHI MURAKAMI ROBERT LONGO ROY LICHTENSTEIN
390 Orchard Road, Palais Renaissance 03-12 Singapore 238871 Tel: +65 6735 0959 Hours: TUE - Sat 11:30 - 6:30 Sun12:00 - 5:00
T PAG Au g u s t 2 0 1 1 / I s s u e 2 2
EDITOR’S LETTER ART WIRE
Galleries updates and events
Zhang Tong Shuai: Face Value
IN THE FRAME
PORTFOLIO: MARKET VOICES
Shapes of Things to Come
JAPAN: Turning the Tide
Under the Hammer in Hong Kong
Postcards from the cutting edge
Revolution: The Language of Collaboration
Etiquette II: Art of Conversation
Tracks of Time
Art Galleries in Singapore
The Thirteenth Sign and masks of god Part II
DIRECTORY LISTING 68 CLASSIFIED
e dit or ’ s
l e tte r
ISSN 2010-4375 / MICA (P) 130/03/2011
August is already upon us and for many galleries it is a time to stage summer shows that help round up events of the year and bring together a wide range of artists. For TPAG, it is a time of celebration. This issue marks the publication’s first anniversary as a comprehensive magazine dedicated to Singapore’s thriving new art scene, and into what has become essentially a global art magazine that hasn’t forgotten its Asian roots. And that’s really what TPAG is about — artists reaching out to the world as they take on its exciting new opportunities. With In the Frame about Chinese artist Zhang Tong Shuai, this summer issue also reminds us that sunlight does more than illuminate. It creates shadows that co-exist in a strange parallel world offering a different view of the forms and figures around us. It is a world that intersects with our own even as we might not notice it. Zhang’s’ shadow men’ tell us about the details we don’t see and that we might not choose to along the way. Zhang is ideal for this August issue as he epitomises an innovative and emerging Asian artist. As well as featuring new and upcoming artists, this issue has old artists renewing their own unique blend of creativity with work that refreshes our world view. This includes British legends Gilbert and George’s urethra postcards. While being institutions in their own right, the duo remind us just how reinvigorating art can be in the way that it keeps long-established artists searching for new things. So this issue is about old and new in more ways than one and we look forward to another year of growth and coverage.
Bonnie E. Engel, Richard Chua, Gladys Teo. Joshua Ortega
General enquiries and feedback
Submission of press releases
On the Cover
04 TPAG | Aug 201 1
Zhang Tong Shuai Third Party, Woodcut 2007 150cm X 200cm
Zeng Chuanxing The Distant Home
76 x 152cm
THE ART OF ZHANG QIANG & ZENG CHUANXING
6.30pm ~ 9.00pm
Arts House @ Old Parliament
23 ~ 29.8.2011 10.00am ~ 8.00pm Arts House @ Old Parliament 30.8.2011 ~ 11.9.2011 10.30am ~ 8.30pm Heng Artland @ Paragon
Myth.Paper Brides – The Art of Zhang Qiang and Zeng Chuanxing celebrates the works created by the teacher-student duo of Zhang Qiang and Zeng Chuanxing. On display are 10 major paintings created by each artist over the period of 2 years. Viewers will be transported into a fantasy world with Zhang’s depiction of female forms in mythical theme, while Zeng will bring us back to the present with his realistic portrayal of the brides in paper gowns, to represent the fragility and the uncertainty of modern marriages. This exhibition is organised by Heng Artland and supported by Federation of Arts Societies (Singapore).
THE ARTS HOUSE 1 Old Parliament Lane Singapore 179429 HENG ARTLAND CO PTE LTD 290 Orchard Road #04-08 Paragon Singapore 238859
Zhang Qiang Nuwa Mending The Sky
150 x 150cm
Tel (65) 6738 4380 Fax (65) 6738 4219 Website www.hengartland.com Email email@example.com
Published monthly, complimentary copies of TPAG are available at several places in Singapore, Hong Kong and the United Kingdom. SINGAPORE: Copies are distributed at the Singapore Art Museum (SAM), Singapore Tourism Board’s Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Art Trove. Pop & Contemporary, Bruno Art and Indigo Blue Art) HONG KONG: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. THE UNITED KINGDOM: TPAG is available at select cafes and art venues around the UK and complimentary copies can be found in major galleries, including the Alan Cristea Gallery, in London. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.
A year subscription (12 issues) Singapore SGD 48 International USD 40 For International subscription, please do not send cheque. Email us for the subscription form at firstname.lastname@example.org
Recycle. Pass THE POCKET ARTS GUIDE forward.
THE POCKET ARTS GUIDE PTE LTD (TPAG) 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115
All advertising bookings and materials for TPAG should be received by 21th each month. Printed in Singapore by International Press Softcom Limited. Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 2010-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches. The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.
06 TPAG | Aug 201 1
The Annual Show of Fine Aboriginal Paintings 27.07.11 – 03.09.11
Redot Fine Art gallery www.redotgallery.com
Shambhavi “Lonely Furrow” 13.08.11 – 10.09.11
Singapore Tyler Print Institute www.stpi.com.sg
Spotlight on: Arpana Caur 29.07.11 – 29.08.11
Indigo Blue Art www.indigoblueart.com
ReDot Fine Art Gallery is presenting the colourful works of the Warlayirti Artists Aboriginal Corporation. Warlayirti Artists come from Balgo, in the arid north east of Western Australia, between the Great Sandy and Tanami Deserts. As a midpoint between Alice Springs and Broome, this remote community, was established as a Catholic mission in 1939. Warlayirti Artists represents artists in the Kutjungka region. Some of Australia’s leading contemporary artists as well as a large number of promising young pretenders are producing bright pieces with deceiving simple compositions. Warlayirti Artists was established in 1987 with the employment of an art-coordinator, following the success of the first exhibition of Balgo art titled, “Paintings from the Great Sandy Desert,” featured at the Art Gallery of Western Australia in 1986.
Born in 1954, Arpana Caur grew up in the aftermath of the Partition in India. Her experience during her early years prompted her to be concerned about others and this provided the background for her creative energy. Arpana’s works in the series at this exhibition often repeat themes, from the crowded Patel Nagar of her childhood, to events such as the rape of Maya Tyagi and the widows of the Chasnala mining disaster. Other major issues that appear in her canvases include the plight of women, spirituality, time, life and death. Arpana’s works are part of collections in the Museums of Modern Art in New Delhi, Mumbai, Chandigarh, Düsseldorf, Singapore the Victoria and Albert Museum in London, the Asian Art Museum in San Francisco and the Peabody Essex Museum in Salem.
Singapore’s STPI challenged artist Shambhavi to break new ground with an array of printand paper-making possibilities. Working intensely with STPI’s workshop team, Shambhavi translated her concepts inspired by the frugal lives of farmers from her native land Bihar, India, into powerful, minimalist works using paper. The fascinating textures and colour intensity of Sickle and Cosmic Seed were a result of Shambhavi’s engravings in copper plates, followed by the chemical corrosion of plates to achieve intricate surface textures that have made prints with complex tonalities. The Illumination series defined by light, fire and shadows, explores the human phenomena. Shambhavi created larger than life paintings to amplify the importance of these small, simple vessels. Khet Kyaari Furrow, a spare vision of white is composed of symmetrical sickle moulds, converging into the metaphorical furrows where seeds are planted.
08 TPAG | Aug 201 1
Gallery Artists Group Exhibition 30.06.11 – 13.8.11
CONTINUUM A Group Show 07.05.11 – 18.08.11
Blindspot Gallery www.blindspotgallery.com
Sundaram Tagore www.sundaramtagore.com
Blindspot Gallery is presenting a group exhibition of photography for its gallery artists including Mainland Chinese artists Jiang Pengyi, Cui Xiuwen, Maleonn, and Miao Xiaochun. The artists have an interesting oeuvre with a wide range of styles, interesting concepts and themes. The works highlighted at the exhibition include the Jury Grand Prize winning series for the Société Générale Chinese Art Awards 2010, Unregistered City by Jiang Pengyi. Select pieces from the series will also be exhibited in Singapore for the final stop of the touring exhibition. From 9 –15 June 2011 at One Raffles Quay. The touring exhibition has already made appearances in cities Including Beijing, Shanghai, Hong Kong, Taipei and Paris. Its final Singapore stop will conclude the Société Générale Chinese Art Awards 2010.
Sundaram Tagore is exhibiting the work of thirteen artists from around the world. The artists hail from India, Australia, Canada, Iran, Japan, Korea, Mexico, Brazil, and the United States. The cross-section of artists on offer not only reveals the diversity of the artwork but also shows a common language that can speak across different nations. The artists work in diverse mediums—including oils, acrylics, metal, paper, and photography—but all share a passion for exploring ideas and aesthetics outside their cultures of origin. The artists at the exhibition are able to say different things using the same voice. The artists at the exhibition are Edward Burtynsky, Denise Green, Kim Joon, Nathan Slate Joseph, Ricardo Mazal, Shirin Neshat, Sohan Qadri, Anil Revri, Sebastião Salgado, Hiroshi Senju, Merrill Wagner, Lee Waisler, Susan Weil.
See The Light 07.11 – 10.11
Espace Louis Vuitton www.louisvuitton.com
Eleven renowned artists including David La Chapelle, Tracey Emin, Stephen Antonakis, Alan Chan, Map Office, Tsang Kin Wah, Kingsley Ng, Qiu Zhijie, Jiang Pengyi, James Clar, Laila Pazooko, Fabrizio Plessi master light use as the medium and the message. All the artworks in this exhibition are concerned with the dynamics of light, and the power of the imagination. The theme of “See the Light” means coming to a realisation, or an understanding about something and it shows how light has been a metaphor for so many things. The exhibition also demonstrates the interplay of the light around us and how there is a communication in a world of shades that creates a dialogue. It also proves that we can be part of that visual conversation.
Summer Show 07.11 – 08.11
REBUS curated by Mario Codognato 21.07.11 – 03.09.11
Simon Lee Gallery www.simonleegallery.com
de Sarthe Fine Art www.desarthe.com
Summer Show is an assembly of talent that allows you to feel the explosive power of some of the world’s greatest masters side by side. The exhibition includes the works of Alexander Calder, Chu Teh Chun, and David La Chapelle. The work of time-honoured masters Joan Miro and Pablo Picasso are at the event with Larry Rivers, John Wesley, Zao Wou Ki, Bernar Venet, Chen Zhen on display. The exhibition offers a memorable visual feast for the season. The connecting thread of genius that runs through this art show seems to cross time as we see the generations of abstract work that makes one realise that all the artists are part of an awesome legacy. The exhibition is like an art historical summer party that is sure to be monumental for many years to come and a truly illuminating event.
Almost 100 years after Duchamp’s urinal, Rebus, an exhibition curated by Mario Codognato, considers the re-appropriation of daily objects. The artists include vedovamazzei, John M Armleder, Mircea Cantor, Merlin Carpenter, Matias Faldbakken, Hans-Peter Feldmann, Sherrie Levine, Sislej Xhafa, Heimo Zobernig. John Armleder has used this device of appropriation throughout his career, most famously in his ongoing series of ‘furniture sculptures’. His ‘Zakk Wylde II’ pairs a customised guitar, designed and played by Zakk Wylde, and then bought by the artist at auction, with a canvas which echoes its formal pattern. For Hans-Peter Feldmann that hierarchy has always been in question, and his collection of artificial flower pots turned on their sides and mounted on the wall shift their meaning only by their re-orientation and re-contextualisation.
10 TPAG | Aug 201 1
Jake and Dinos Chapman: Jake or Dinos Chapman 15.07.11 – 17.09.11
White Cube www.whitecube.com
Michelangelo Pistoletto: The Mirror of Judgement 12 .07.11 – 17 .09.11
Serpentine Gallery www.serpentinegallery.org
Summer Group Show 13.7 – 10.9.11
Patrick Heide Contemporary Art www.patrickheide.com
Since the self-defining anti-aesthetic manifesto of Jake and Dinos Chapman was first stenciled onto a wall at the ICA, London in 1992, they have developed their own shared discourse and they are exhibiting work at an exhibition held at White Cube. Their work is iconoclastic sculpture, paintings, prints and installations that examine contemporary politics, religion and morality. Christoph Grunenberg described the work as existing between that which repulses and that which attracts the viewer. “There are underlying psychological meanings and the attacks on the whole bodies,” said Gruneberg, “the blurring of gender lines, the revulsions of the abject, and the insinuations of sadism. While their sculptures, paintings and prints function perfectly on a visceral level without theoretical superstructure, particular figures, motifs and images can always be traced to textual and visual references.”
Michelangelo Pistoletto is one of the pre-eminent contemporary artists working today and his works have broken down the traditional notions of figurative art, reflecting their surroundings. In 1965 Pistoletto created Minus Objects, a series of sculptural pieces that investigated how objects transform into artworks through the ideas they express. For his exhibition at the Serpentine Gallery, the artist will create a new, site-specific installation using a form that he often returns to: the labyrinth. Pistoletto’s exhibition will lead viewers into a winding maze of hidden installations and sculptures. In 1998, the artist invented Cittadellarte: Fondazione Pistoletto, a centre for the study and promotion of creativity of all kinds. This interdisciplinary approach is an intrinsic part of his goal to unite the diverse strands of human civilisation through art.
With the works by Isabel Albrecht, Astrid Bowlby, Sarah Bridgland, Jonathan Callan, Chuya Ikeda, Károly Keserü, Hans Kotter, Sharon Louden and Thomas Müller. The nine talented artists bring various composition of art to the Patrick Heide Gallery. The summer art show brings together talents with the ability to manipulate the world around them. These include Jonathan Callan whose book sculptures, in their deceptive brilliance, appear as sublime mirages and Chiuya Ikeda, whose structures exude a spiritual form seen throughout nature. Isabel Albrecht’s formations seem to convey an abstract language of time. Patrick Heide Contemporary Art aims to provide a rather timeless alternative to an art world that is often aimlessly theoretical and introspective yet addicted to marketing and fashion. Its latest collection is stimulating in an intellectual sense.
The Summer Exhibition 14.07.11 – 12.08.11
Alan Cristea Gallery www.alancristea.com
Sylvia Plachy Solo Show 28.6.11 – 26.8.11
Flo Peters Gallery www.flopetersgallery.com
Shi Guorui - Rebirth 15.07.1 – 02.09.11
L&M Arts www.lmgallery.com
Los Angeles, USA
The Alan Cristea Gallery’s Summer Exhibition will showcase a number of works by Michael Craig-Martin, who has played a significant role in to include prints from Alphabet, a series of 26 prints, and a number of unique drawings pre-dating the artist’s use of the computer; Untitled (Modern Muses), 1982 and Paint Roller, 1983. Howard Hodgkin will also be featured, who was commissioned to design posters for the London 2012 Olympics and Paralympics Games. Highlights include small-scale prints, Rain and Strictly Personal and a larger print entitled Night Palm, 1990-1. Abstract painter Gillian Ayres, is represented by a number of works. Italian artist Mimmo Paladino is represented by Stupor Mundi, 2010, lithograph and gold mosaic in a brass box, 2009, a collage with lithograph and handpainting containing a welded steel frame with gold mosaic glass elements.
Flo Peters Gallery It is currently exhibiting the work of Hungarian photographer Syvia Plachy whose prodigious career has included a job as staff photographer at the Village Voice. She has now worked in a wide range of publications and her distinctive works of photojournalism have received acclaim as works of fine art. Flo Peters was established in 2005 and is an internationally active gallery for fine art photography with an emphasis on 20th century black and white as well as extraordinary contemporary photography. It also conserves and presents great masterworks of modern photography and this is exemplified by artists such as Plachy. The gallery is particularly committed to discovering and presenting talented young artists’ artworks and has exhibited work in the 2011 that reinvigorates the spirit of fine art photography and with Plachy’s work in the field of journalism, the exhibitionalso shows how all-embracing fine art photography has become.
L&M Arts is presenting Rebirth, an exhibition of unique camera obscura photographs by Beijingbased artist Shi Guorui. In 1998, Shi was the only passenger unharmed in a tragic car accident. This life-changing event introduced him to camera obscura. by nature, a camera that captures a series of moments over an extended period of time. Although Shi’s relationship to his technique is highly personal, the series Rebirth documents internationally recognisable and historically significant landmarks, particularly focusing on architectural sites associated with economic prosperity in both the United States and China. These photographs also illuminate the dynamic relationship between American hegemony and China’s burgeoning development, alluding to the American dream not only as it exists in the United States, but also in the new urban capitals of China. Shi currently lives and works in Beijing. Shi is one of China’s foremost photographers and has been exhibited internationally.
12 TPAG | Aug 201 1
IN THE FRAME
Untitled Woodblock print, 5 m 2011
14 TPAG | Aug 201 1
Text by Remo Notarianni
Zhang Tong Shuai
IN THE FRAME Zhang Tong Shuai
ith their eyes sunk into an inky blackness that matches their suits and ties, the figures of mainland Chinese artist Zhang Tong Shuai resemble men half eaten by their own shadows. The details are noticeable by their absence but the subjects find a voice with gleaming sets of teeth and oversized hands. “The facial features of my subjects may be incomplete,” said Zhang whose eyeless creations appear in woodblock prints and sculptures, “but they can still communicate with open mouths and hand gestures.” This shadowy world asks viewers to fill in details that often decide identity. Like figuring out who’s who in faded photographs, we are left scrambling for words, descriptions, and names. But as we make out the picture, we might emphasise certain features and ignore others. Zhang’s exclusion of these fine details echoes the discriminating eye of the modern world. “People notice clothes more
16 TPAG | Aug 201 1
than faces,” said Zhang. “Suits and ties are like military uniforms. They help people slot into certain situations and have become ways for them to find an entity, sometimes dangerously. Our identities are dissolving into a system decided by fashion, business and societal codes, and these have become more important than the people who make up the system, and who have become lost in shadows.” Zhang, who graduated from the Xian Academy of Fine Arts in 2005, entered a vibrant art world at a time when the nation’s artists were reaching international stardom. Caught between traditional Chinese art, and the flamboyant caricatures of the groundbreaking Pop Cynical Realists, Zhang could draw on a changing China with new issues to make an interesting aesthetic and body of work. Born in 1981, Zhang grew up in post-Cultural Revolution China where corporate black suits emerged alongside the khaki and blue outfits of communist cadres.
Untitled, fibreglass sculpture, 2011
Welcome! Woodblock print 150cm X 200cm 2007
18 TPAG | Aug 201 1
IN THE FRAME Zhang Tong Shuai
“Our identities are dissolving into a system decided by fashion, business and societal codes”
The ironic mix that built China’s economic miracle is caught in woodblock prints such as ‘Welcome’ which shows black-suited men displaying a uniform solidarity redolent of the Socialist realist artists who painted propaganda images in the Mao era. The big mouths on these faceless figures could symbolise anything from the extravagant boasts of China’s trailblazing entrepreneurs to the secrecy of government or the bold claims of both its international business-partners and state-owned industries. Unlike his predecessors, Zhang can point a finger of blame at more than the Communist Party, but he states that his images are in fact vignettes — everyday scenes of life in modern China. “I never deliberately set out to make a political or social statement,” said Zhang. “My images are snapshots of what I see in daily life. I intend my art pieces to be a direct reflection of what society
does or does not shed light on.” But with quite a lot of the woodblock prints one metre by two metres, their size amplifies the underlying statements. This immensity set against a contrasting sea of white helps the incisive black figures make an impact that becomes part of the statement. “I think the size of an art piece is an essential part of the overall composition,” said Zhang. “When creating an image, different sizes have different roles and psychological effects. Of course, this depends on the needs of the piece and artistic intentions but I think my images would not speak as clearly if I did not spend time making such immense woodblocks.” Yet behind this contemporary aesthetic is a traditional method that sets the artwork apart from the often garish, painterly styles of contemporary China. Woodblock printing, a technique that dates back to Han dynasty China, gives the images a sharpness that makes
IN THE FRAME Zhang Tong Shuai
them look like calligraphy at first. Zhang’s approach is refreshing in the way it melds the traditional into the contemporary instead of fitting it into one category or another. It may not signal a paradigm shift but Zhang revitalises the tradition with the content’s modern visual codes. “Woodblock printing is simple, direct and powerful,” said Zhang. “It fits my creativity and what I set out to do. After a generation of artists rebelled against tradition by exploring colourful new styles that looked distinct from the past, I had to find new ways of doing things. With the experimentation of a previous generation of artists laying the groundwork, using a traditional method in a modern way seemed like a way to break new ground.” Beijing-based artist Zhang Tong Shuai is represented by Singapore’s Sunjin Galleries. Contact: 6738 2317. Email sales@sunjingalleries. com.sg.
20 TPAG | Aug 201 1
Stand With You Woodblock print 150cm X 200cm 2007
Photos: Zhang Tong Shuai
J A PA N
Katsushika Hokusai, The Great Wave Off Kanegawa, woodblock print (1830)
Tu r n i n g t h e t i d e
Text by Remo Notarianni
22 TPAG | Aug 201 1
Ando Hiroshige, Fuji in the Morning, woodblock print,1850
he apocalyptic news images of Japan’s Tohoku earthquake and tsunami in April 2011 aroused sympathies that grew into a debate about the nation’s future. The scenes were also hauntingly familiar. They rekindled memories of the war ashes that modern Japan rose from; and they were like images from some of the nation’s artwork, films and animations. Katsushika Hokusai’s The Great Wave Off Kanagawa was
created as a woodblock print in around 1830. It has been distanced from the edgy experimentalism of twentieth and twenty-first century Japanese art by time, tradition, and categories that separate the nation’s elegant cultural motifs from its often fragmented and kitschy pop artists. But it has not resisted mass-production, leaving its mark ubiquitously on consumer goods, mugs, mousepads and souvenirs. Seen as quintessentially Japanese,
ART LANDS Japan
the Great Wave has become a national emblem that’s enchanted art lovers globally. “Its enduring appeal lies in it being unfinished, open-ended,” said Matti Forrer, author and professor of Japanese art at the University of Leiden in the Netherlands. “The wave rolls and keeps on rolling and has not yet reached its final ‘ground’ yet, leaving us uncertain about what the next 30 seconds or so will bring to the men in the boats. There is uncertainty, suspense, man is involved – without the men in the boats it would be purely ‘nature’, which we all know can be devastating.” But Forrer states that, to those who know Hokusai and his landscape prints, the men will undoubtedly survive, and reach the coast, as this is an essential part of Hokusai’s art: man is occupied in his own business, but in the midst of a most dominant natural setting, he can fit in naturally. For that reason, Forrer believes that relating the image to Japan’s tsunami and earthquake of 2011, is not fitting. It is more an image of endurance, and one that symbolises the Great Wave’s own continuing legacy. In many places, the shock of the ‘new’ splits a chasm between the traditional and the modern, but the Wave, even as it falls comfortably into Edo period Japan’s often serene Ukiyo-e art, has crossed categories, and centuries. With the grandeur of a crest of a wave belittling Mount Fuji, it is at once terrifying and aesthetically uplift24 TPAG | Aug 201 1
ing. Yet it is this ambiguity of the image that makes it different things to different people, rousing a dazzling mix of fear against aweinspiring beauty. “Hokusai’s the Great Wave is significant in many ways,” said Shinji Nanzuka, director of Tokyo-based-gallery Nanzuka Underground. “We can say that the appearance of Hokusai is an important point, when Japanese art made a jump into ‘Art’ that belongs to a common global language.” Often described as the first Japanese art piece with ‘Western’ perspective, in the nineteenth century, the Wave caught the eye of European artists, launching a movement in France called ‘Japonism’ in which Japan’s artists clearly influenced painters such as Van Gogh. In that sense, the Wave, with its groping hand-like crest, could also signify the nation’s art reaching out to form a bridge with the wider world, for the first time. Modern Japanese artist Masato Shigemori describes a certain eclecticism in Japanese society and art that he believes defines his work. Shigemori’s compositions cross the traditional with the modern and have an ethos that contrasts with European and American influences. To Shigemori, the multifaceted aesthetic of this mishmash has been pieced together by the fragments of a nation in the aftermath of destruction at various levels. “After World War II, Japan rebuilt itself,” said Shigemori, whose paintings have recently
Tsukioka Yoshitoshi, Moon above the Sea of Daimotsu Bay, woodblock print,1886
Ichiyusai Kuniyoshi, the Dragon King’s jewel, woodblock print, 1844
Keiichi Tanaami, Mysterious Deliverience, acrylic on canvas (2010)
Takashi Murakami, Tiger Club, The Heian Period and The Kamakura Period (2011)
26 TPAG | Aug 201 1
ART LANDS Japan
“There is uncertainty, suspense, man is involved – without the men in the boats it would be purely ‘nature’, which we all know can be devastating.”
Yoshitomo Nara, Light my Fire, Sculpture, 2001
been exhibited in Singapore. “As the dust cleared, we recreated our society in a confusion that mixed religions, America with Japan, and the past with the present. In our society, some ceremonies are Buddhist and others are Christian. We continue to revere our Shinto gods, while idolising American celebrities.” While Shigemori implies that without these destructive forces Japan may have a more cohesive identity but it survives by adapting to agents of change and this makes its core stronger. The Great Wave was born out of confusion and a struggle against fragmentation itself. It was created when the 70-year-old Hokusai was forced to return to art to make ends meet after a personal misfortune. He created some of the greatest pieces of his career in advanced age. The art world that Hokusai worked in through his prime was one of idyllic imagery. Lacking the dreamy sensuality of the floating world (Ukiyo-e) prints of his previous work, the art world had perhaps not seen the powerful
grandeur of the Wave before, one that even dwarves Mount Fuji, a Shinto religious symbol. This is said to be ironically emphasized by its ‘Western’ perspective. This sense of fragmentation has been addressed by modern Japanese pop sensations like Takashi Murakami, Keiichi Tanaami, and Yoshimoto Nara. But beyond these aspects, the central power of the image comes from the nature, a force that has educated Japan across centuries to adapt in the face of devastating change. “Nature has had a great influence not only on Japan’s art, but also on its civilisation,” said Nanzuka who believes that the European art world saw ‘Western perspective’ in the Great Wave rather than Hokusai deliberately placing it there. “In Japan, ‘Nature’ is generallyregarded as ‘God’ or ‘Ourselves (mother)’, not ‘the embrace of the world’. However, I feel that in the 20th century, our economic activity has eroded Japanese philosophy and the awe and respect that we once had of nature, little by little.”
Photos: The Gagosian gallery, Nanzuka Undergound
28 TPAG | Aug 201 1
from the cutting edge
Text by Remo Notarianni
ot all artists attempt to deliberately send messages through their work but the redoubtable Gilbert and George, London’s art duo, have made cogent statements over the years with graphic photomontages that continue to captivate collectors. Since the 1960s, the artists have created an inventive signature based on luminous, often garishlysaturated, colours set by gridlines; it has grown into a visual language, intensely vocalised by their own physical presence in the pictures. In 2011, Gilbert and George have continued to grab attention with the Urethra Postcard Art collection, a return to their postcard art of the seventies and eighties. Their authentic language has become understood over the decades, and found a renewed significance from art lovers in the 21st century. “The issues and topics addressed in their art are universal
and have an international concern,” said Tobias Sirtl of Germany’s Arndt & Partner Gallery, which had a booth at Art HK (11) in May devoted to Gilbert and George’s Urethra Postcard Art. “Gilbert & George conceptually represent their artwork. The designed booth is consecutive to this idea and their art.” Part of the charm is that the images have a local content that somehow strikes a chord internationally and with the postcards there may be an ironic visual reference to the world of tourism. Such underlying associations may not be intentional and much of the imagery in their work is based on the area around London’s Fournier Street where the northern Italian Gilbert Proesch and the British George Passmore live. But there is an obvious resonance in the symbolism of some of the montages, with pointers to
FEATURE The Postcards from the Cutting Edge
Gilbert and George
religion, lurid references to sex, and crucifixes lucidly pinned to some of the compositions. With the brightly-coloured patterns, it is evident that the couple have added family-friendly layers to the iconoclasm of the work that makes it visually digestible by all. With the Jack Freak collection of the 1990s, the British Union Jack was skillfully twisted into their visual diction, as they made a series of freaky montages on a range of subjects using its colours and shapes — and of course they got away with what might be called a treasonable act. At first glance, the Urethra Postcard Collection leaves few clues beyond the name. It could resemble an ordinary set of London postcards but its exploration extends to London telephone box cards, where you might find cards advertising “Linda: transsexual, Pre-op, new in town”. Even if they are not deliberately discursive with the imagery, we ee a juxtaposition of issues pressed against the table of a society that chooses not to discuss them, and by presenting them with characteristic formal elegance, Gilbert and George make them appear respectable. This paradox of perception in the urethra postcards is arranged
30 TPAG | Aug 201 1
using 12 postcards in a rectangle and a thirteenth postcard in the middle – apparently a theosophical symbol of the ‘urethra’, a word that George concedes few people can even spell and a part of the body that most people associate with the passing of urine — while forgetting that it is also a sacred place where life begins. Gilbert and George do not claim to be particularly anti-establishment. In fact this is their way of touching on the issues without the confrontational approach of many other artists. The urethra postcards, in their deceptively inoffensive charm, could be a better example of their language than the previous work. There was an exhibition of the postcards at London’s White Cube earlier in the year. Berlin’s Arndt & Partner are testing the strength of their international resonance by planning new exhibitions in Asia. “Gilbert and George are arguably the most famous living artists internationally,” said Sirtl. “and we were happy to bring a whole group of the new body of work of ‘Urethra Postcard Art by Gilbert and George’ to Asia. Focus presentations at fairs allow one to take a look at the depth on an artistic oeuvre, and this came together very well in Hong Kong.”
love in r(evol)t: SOCIAL PLAYGROUND
Love In RevoLt pResents soCIAL pLAYGRoUnD: An InteRACtIve LAnDsCApe CReAteD foR YoUth, bY YoUth who wAnt to GIve hope to hUmAnItY tRAppeD In poveRtY. At fIRst GLAnCe, ALL seems weLL In oUR kInGDom of ComfoRt, bUt LookInG beYonD the wALLs of seLf, we’LL beGIn to see the pooR who exIst ALL ARoUnD Us. we’Re not oveRLY IDeALIstIC AboUt sInGLe-hAnDeDLY ChAnGInG the woRLD, bUt toGetheR we ARe An UnstoppAbLe foRCe foR GooD. JoIn Us As we DReAm oUt LoUD.
audacio us M oveMent join the revolt and be part of the movement to bring an end to poverty
day u to p i a f o r yo u th a platform for social cohesion, artistic experience and civic engagement
su p p o rte d p roj e cts come make a difference by giving a future and a hope to people who have lost all hope
5 - 7 AUGUST 2011 1 pm - 9 pm DAILY
in partnership With:
w w w.Lov eInR e voLt. C om
art of conversation
Text by Remo Notarianni
Etiquette II :
32 TPAG | Aug 201 1
hen the same story is told in different ways, it often unites people with a common voice. Etiquette II, a multi-disciplinary showcase at Singapore’s The Substation brings together writers, visual artists and filmmakers. They may belong to different disciplines but they are all part of a story that they believe has misrepresented the protagonists. Through the event, the all-female collaboration hopes to open a new chapter in the story of women — penned by their own hands. The language of gender has assigned roles and created a script for society. It does more than dictate behaviour and language; it also shapes personal and familial attitudes and builds entire industries in the images of certain groups. Behind it is a code of conduct called etiquette. The creative cluster of females, who have huddled together to stage Etiquette II, demonstrates just how alienating this etiquette has become. “Etiquette works on two levels,”
said writer and artist Tania de Rozario who has taken part in the event. “On one level, it addresses issues personal (and ultimately societal) to women; these issues are addressed in the works themselves. On another level, it addresses power structures within the creative industry pertaining to gender. These issues are addressed by the overall event and the ‘exclusivity’ of having an all-female show to begin with: If there exists, a structure that systemically excludes the voices of women from creative canons, ‘exclusivity’ on a smallscale is ultimately what needs to be practised in order to reflect ‘inclusiveness’ on a macro-scale”. Different art forms addressing the same issue underscore the anger across the creative industries. The showcase, shown across different nights, puts a spotlight on how these ideas manifest themselves visually, verbally, and socially in the mundane – and in ways we may not be aware of. These include Art, the visual
STORY Etiquette II
arts section that probes everyday life with snapshots of seemingly ordered but tense domestic scenes, in all too contrived family snapshots; Women Out Loud, a section devoted to ‘words’ heard in the all-too-common cries of situations such as arguments between a mother and a daughter; and Screen, which presents films from 25 filmmakers, and reveals how it is often a male voice in the director’s chair that says “action”. “The multidisciplinary nature of the show is important because the statement the project makes is really rooted in questions that umbrella all industries,” said De Rozario. “Why is it that in 82 years of The Oscars, only one woman has won Best Director among only four women who have been nominated? Why is it that only six percent of books reviewed by the New York Review of Books in 2010 were written by women? Why were there 200 male reviewers and only 39 female? Why did women comprise only 18 percent of the individuals who showcased at the first Singapore Biennale?” The showcase moves beyond the well-exhausted debates about men and women, opting instead to invite audiences to become creatively involved. What becomes evident about our social space is the presence of conflict and mutually accepted tension, rather than engagement for different parties, which is what the negotiation of ‘etiquette’ is meant to be about.
34 TPAG | Aug 201 1
“My own piece for Etiquette, is entitled the ‘The Informed Choice’,” said participating writer Krishna Udayasankar.“ it attempts to capture the more obvious and sometimes-heated issue of a woman’s ‘Right to Choose’, and the subtle, underlying expectations that give rise to the debate in the first place. And then of course, there is the question that, to me personally, is the essence of Etiquette 2011. Why don’t we talk about these things?” Talking about things means using the art on offer to engage all present in a conversation. The creative collective Popin will coordinate workshops to bring different parties to the table. This includes one that invites the audience to take part in sewn-installations of sanitary pads. A natural discussion might ensue about preconceptions which we often believe to be natural, but which we may not have even noticed are deeply ingrained in us. “Gender, not synonymous with biological sex, is often perceived as natural,” said De Rozario. ”Assuming the roles of our designated gender unquestioningly is a form of etiquette that perpetuates existing power structures which discriminate against women in almost all spheres of personal or professional life.” Story looks at the connection between narrative and image. Etiquette II begins on August 3 at The Substation, Singapore.
Support our ART to the heARTland and project
Social Creatives is a non-profit organization with a mission to connect youths through art.
Tel: 8366 6093
The Thirteenth Sign
and masks of god
Created by Snakebite Cortez and Joshua Ortega with Digger T. Mesch
story: Joshua Ortega mask: Joe Allard
It was a cold day on the Strait of Georgia, and it was a most unusual time. The long overcast of the Northwest winter covered overhead, light mist filtering down, soft, and not at all unpleasant. However, Luk was confused. Whereas salmon were typically abundant throughout the year, something different was transpiring on this misty spring day. Namely, the salmon were simply not there, as if they had decided on a whim to go somewhere else that season. Since it was still early spring, his parents were concerned about food supplies for Luk and his siblings, and they decided to venture out, further into the sea than they had ever gone before. Luk saw a bat that day, he
36 TPAG | Aug 201 1
thought nothing of it. Not until later.At sea, his parents found bountiful amounts of herring, filled their boat with the miraculous catch, but didn’t see the pirate coming.They said he was of Salish and Makah heritage, but regardless, there was no doubt he was a pirate. He stole the full bounty of their catch that day, and when Luk’s parents protested, he killed them, threw their bodies to the sea, and towed their boat back to shore, keeping everything for himself and his crew. Luk saw another bat that night, it seemed to speak to him, telling him of what had transpired, making him see fevered visions of the tragic events. Already skilled in traditional sculpture, that night he made a mask. A mask for the bat; a mask for his parents. A mask for revenge.
ETHIOPIAN IRON MAN
story: Joshua Ortega mask: Jan Utstein-O’Neil and William O’Neil
On December 26th, 1935, following the murder of an Italian pilot, the Italian-Ethiopian War would take on a new dimension… With unexpected results. Despite certain Geneva Convention restrictions, the Italian Army, under Mussolini, used a combination of mustard gas and tear gas (or claimed to use such a substance), to rain down a brutal chemical barrage of “fiery rain” upon the Ethiopian population. This would have unexpected consequences. One man’s heart stopped during the attack, and he was given water and an interesting mix of awaze that some claimed countered the chemical effects. It’s hard to say the witnesses were wrong. Emerging from this attack came a “man like iron,” with skin strong enough to repel bullets and heavy artillery. It seemed he could not be killed, and this man fought many battles on the side of his countrymen, but after retiring to a life of peace, he was ultimately exiled from his country when EthiopianAmerican relations began in earnest. He still lives today, ironically rumored to be living in Washington, DC or Seattle.
story: Joshua Ortega mask: Axel Ortiz
The mysteries surrounding the life
of Ghengis Khan are numerous, but his death, ironically, proves the most mysterious. Though the date of his death is believed to be known – 1227 AD – the actual date to this day remains a historical and scientific enigma. After uniting numerous Mongol tribes throughout northeast Asia, Khan went on to conquer much of Eurasia. His methods were often considered brutal, he was known to slaughter innocents and soldiers alike, and it seemed there was no force on Earth that could stop his reign of power. No force on Earth, that is. It is widely believed by many historians (though, arguably, controversial historians), that Genghis Khan’s true date of death was1200 AD. His cause of death? A meteorite. But there’s more to the story. Based on ancient texts, it is said that he was struck down by a “force” and “light” that had never been seen before. Astronomers have now verified that there was a brilliant meteorite impact in 1200, and traces of the crater have been found and definitively identified in northeast Asia. Other ancient texts speak of some type of hulking beast that emerged in “light” and took over the mantle of Genghis Khan. Of course, this points to the fact that somehow, this otherwordly creature continued to rule the empire untill 1227 AD. Impossible? It would seem so, yet there is one other interesting fact that was gleaned from the ancient texts: The hulkish beast was said to have died in 1227.
GLIMPSE The Thirteenth Sign and masks of god
story: Joshua Ortega mask: Gabriel Garcia
The setting is the Philippines, the dawn of the Philippine-American War. In some ways, it’s a little known war, rarely spoken about by historians, but a war that had powerful implications for both countries… and their people. Following the Philippine Revolution (1896-1898) and the Spanish-American War (1898), the Filipino people rebelled against the occuping American forces in 1899. Though the American forces initially spoke of liberation and autonomy, the Filipinos quickly learned that they had simply traded one authority for the other. Spanish colonialism became American colonialism. The Filipino people – and the duwende – were not pleased. Duwendes (roughly translated as “goblin of the house”), were known to plague
38 TPAG | Aug 201 1
the Americans at every opportunity. Described as “devilish” or “hellsent” by their victims, duwende’s were not only mischievous and cruel, they could also be quite deadly. Many Filipinos would leave food or offerings for the duwendes, in order to protect their homes from the duwende’s mischief. The occupying American forces, however, never did such a thing. And so they drew the duwende’s wrath.The most famous incident occurred in 1901, following the massacre of countless unarmed citizens on the island of Samar. At least ten troops reported nightmares of “demons” and “goblins” the previous night of the incident, and on the actual day, over 50 American troops wandered into the jungles of Samar, chanting strange songs as they left in the night. To this day, the soldiers’ bodies have never been recovered, though the strange chanting is still reportedly heard from time to time.
story: Joshua Ortega mask: John Felix (Owner Petra Gallerie)
Like a rock in a storm, she was an anchor for survival and providence– and for love. Love, most importantly of all. When cold winds stormed and blue waters grew harsh, she was there. Not only for him, but for others; other souls swept adrift on seas of uncertainty, hopelessness, and often times, despair. Her beauty though, instantly gave others hope. But the person she gave the most hope to, she would come to love the most. There was a girl, and there was a boy. In many ways, the story is as simple as that. She enjoyed many things; painting, food, illustration, family, dance, but most of all, she had a passion and love for the arts. He did too, though it was when he met her, loved her, fully realized her beauty
and compassion, that he realized they had similar passions. And they loved, quite deeply. Life intervened. Even through the tragedy, his commitment to her remained. Rather than giving in to despair, her sense of humor buyoed him…it kept him afloat. The rock in the storm. He dreamt one night, many nights later, and he dreamt of her… her style, her taste, her essence, her love. And he decided to share this with the world. A mask appeared, and much to his surprise, it reminded him of childhood. Old monster movies, laughter, innocence, warmth, and ultimately, of her. The child within was still alive. He created a mask. He smiled. He fell in love once again. And he became the rock in the storm.
story: Joshua Ortega mask: D. Joseph Bortoli
story: Joshua Ortega mask: Gary Montalbano
The year is 2012. The end of the Mayan calendar. Projections from the end of the world abound, much like the turn of the millenium in 1999…or 999. 999 held signifigance to her. It was the year she was first reborn as the Phoenix, after all. From ancient Mayan civilization to the so-called “future,” she has been present, or at least, was a presence. Her name is not relevant, as she took many forms, not all of them birdlike or fiery. Sometimes, she was as cold as a lioness, other times, as warm as a summer breeze–with a swarm of hornets blowing upon it, of course. She was a force to be reckoned with, a power unlike any other. Her very presence, her continual rebirth, signalled times of change, upheaveal, and renewal. 1206 AD, 1492 AD, 1776 AD, 1939 AD, and more, she was there, manifest upon this earthly plane. But something changed in 2012: She became the harbinger of the end of the world. Not the end of the world as in armageddon or fire and brimstone, but rather, the end of the world as we know it. Everything changed that year, from the environment to civilization to basic human relationships…and suprisingly for some, things did not change for the worse. In many ways, despite the prophecies of doom, the world became a better place. And for the first time since her creation, the Phoenix smiled.
40 TPAG | Aug 201 1
Thor was widely known to be the god of thunder. But the god of lightning? There was none. She was a goddess. Her name was Molniya, and she was born in the cold climes of the north, the fatherless daughter of a weaver mother who was known for making bright patterns in her weavework. Her mother, whose name has been lost to history, said that the patterns were inspired “from above,” and more importantly, that her child was as well. Considering Molniya’s legacy, and the legends of her otherwordly powers, it’s hard to argue with the legend. There has been much conjecture recently in academic circles that Thor’s hammer, often known as Mjolnir or Mjonler, was actually not a “literal” hammer, but in fact, was the great love of Thor’s life, a woman who was the lightning to his thunder, the light to his sound, the bright to his dark. Molniya. If this is correct, then every tale of Thor must be interpreted even more metaphorically than before. Not only must one glean the history from the myth, but one must also realize that even within the myth, there are layers of metaphor. Any action taken by Thor and his hammer, any incredible feat performed alone by his hammer, was likely the actions of his greatest lover, Molniya, enscribed to history, at least for now, as a hammer, rather than the goddess that she actually was…
The Thirteenth Sign and masks of god GLIMPSE
INCAN WONDER WOMAN
story: Joshua Ortega mask: Trevor Goring
She was born Anahuarque, and was a woman of great wonder and power. Unfortunately for her–and the Land of the Four Quarters–her wondrous abilities and talent were never fully recognized. Patriarch’s world dismissed her abilities, and an entire empire fell because of it. While there were many events leading up to the fall of the Incas, one, final event stands out in particular, and strangely, is rarely documented. According to official history, Pizarro and Vincente de Valverde met with the Incas in 1532 AD and demanded that they convert to Christianity and accept the rulership of King Charles I of Spain. It was said that they met with Atahualpa, one of the most powerful leaders of the empire, and when he
misunderstood their requests, the Spanish decided to conquer them outright. What is lesser known, is that Anahuarque, veteran of many fierce battles and who possessed a way with words like no other in the empire, was present at this meeting. Atahualpa, feeling that a woman had no right to negotiate for the Inca, ignored her warnings and her advice, dismissed her from the room, and then proceeded to create the misunderstanding with the Spanish that most historians attribute to the fall of the empire. Atahualpa was put to death by the Spainairds in 1532 AD. There is no documention of Anahuarque’s death, though an “Incan queen” is said to have organzied a group of women, and moved them to an isolated island off the coast of Peru. This island has never been discovered or verified, but legends say that as long as Patriarch’s world exists, the island cannot be seen by mortal eyes.
Produced by John P. Felix and Petra Gallerie www.petragallerie.com 1149 and 1151 S. Robertson SORO, Los Angeles, CA 90035 310-247-0252
images Petra Gallerie
PORTFOLIO: Market Voices
Shapes of Things to Come
By Remo Notarianni
Prodip, Dumb & Aub, 2009, Acrylic on Canvas
Florian Ma, Installation from ‘Gene’, 2011
Prodip, Tribe of many colours, 2009, Acrylic on Canvas
n recent years, Hong Kong’s art scene has lit up with visions of hope that outnumber its actual art exhibitions. The newly-established Future Industries has worked with local artists Simon Birch, Stanley Wong, Prodip, and Florian Ma. Co-Director Robert Peckham revealed to TPAG how the company’s new approach to art promotion might offer enough hope to realise the glory.
TPAG: What was the inspiration behind Future Industries and how is it making a difference to Hong Kong’s art scene? We believe the moment has come for a new approach to representing artists and exhibiting their work, not only in Hong Kong, but also internationally. Our mission is to reboot ‘the white cube’ project room, and create new space for experimentation and re-engage audiences. Yes,
42 TPAG | Aug 201 1
Simon Birch, Screwface, 2011, Oil on Canvas
making art, perhaps, more eventdriven. TPAG: What are the underlying concepts and the business model of Future Industries? Our business model is based on flexibility and collaboration. We feel that artists and buyers are looking for a different way of doing things: more personal and personalised, but at the same time, more ambitious. The four people who make up Future Industries come from very different backgrounds, which is a strength we can draw on. Institutionally-speaking, we’re connecting the dots, to build a support system for our artists that go the lengths most galleries cannot go. TPAG: Do you think Future will make a difference in terms of the type of art being promoted in HK? For one, by supporting innovative large-scale art projects. We’re also intent on breaking down reductive categorisations of the ‘East-West’ variety, which no longer make any sense (if they ever did). At the same time, we want to give visibility to younger artists, whilst ensuring that established artists are given the space to continue experimenting. Too often they’re freeze-framed. Hong Kong has a real opportunity to be a place of serious art-making – and not just a place of consumption. We want to help to make this happen – in whatever way we can.
TPAG: What sort of spaces do you think are ideal for the kind of art you are promoting? Different projects require different spaces. For Simon Birch’s recent show, the Hong Kong Museum of Medical Sciences made a lot of sense; in fact, the space was an integral component of the project. From the outset we conceived of Laughing with a Mouth Full of Blood as a conceptual project, where the interrelationship between the paintings and surrounding displays of medical ephemera was crucial. Simon Birch has a long preoccupation with the human body and with biomedical technologies; he’s interested in the tension between the rational, totalizing gaze of science, and the fundamental illusiveness of ‘humanity.’ For other projects, we’ll find other spaces and recuperate them for art. There is no size that fits-all. TPAG: How has Future fitted its model into different places? We were involved in taking HOPE & GLORY to Beijing in April. Right now we’re working on a number of projects in the US (New York and LA) and in the UK (London), as well as in Hong Kong. Every place is different, with its own creative energy. It’s important, for the success of every show, that we understand and respond to this.
Photos: Future industries
Under the Hammer in Hong Kong
By Bonnie E. Engel
lobe-trotting collectors were spoiled for choice in Hong Kong at the end of May. International auction house Christie’s Spring Sale normally brings in the heavyhitters, on both the buying and selling sides, but it also attracts many smaller players who hold competing auctions at any available hotel ballroom near the Hong Kong Convention and Exhibition Centre. This year, the collectors and art-lovers had added bonus of ARTHK11 held just a few days before and during Christie’s sale. It is the fourth year of the territory’s own art fair, which has now been partly sold to Art Basel of Switzerland. Next year, the HK art fair will not coincide with Christie’s sale, but be held a couple of weeks earlier to suit the Europeans’ international calendar. It might seem an odd decision but spreading out the riches might be the right thing to do in the end, as the last week of May was crazy with auctions held by Bonhams from London, Est-Ouest from Japan, Seoul Auction from Korea, Ravenel Art Group, which is supported by the French group Drouot, and UAA, Asian Art Auction Alliance (A|A|A|A), the overseas arm of Japan’s Shinwa Art Auction, Korea’s K-Auction, China’s Beijing Hanhai Auction Co. and Singapore’s One East Larasati. Lured by the mainland money
that has been pouring into the Hong Kong art market, these auctions each had their own success by bringing unique and different types of art to town. Galleries, too, tried to attract the visitors by putting on special exhibitions and art groups such as the Asian Art Archive and Para-site were very active with seminars and lectures as well as guides to the art fair for newcomers. Daniel Komala, head of Larasati One East Auction and spokesperson from the United Asian Auctioneers (UAA) said, “Since the economic downturn of 2007-08, the buying patterns have changed somewhat. Before 2007, anything we brought would sell, but now people are more discerning. Great lots achieved great results, even five-to-six times over estimates for the top quality. I feel it is not so much speculation now as investors are thinking long-term. They can’t flip a six-times estimate purchase quickly. They are buying established artists and master works.” President of Christie’s Asia, François Curiel, said, “With sales up 65% over the same period last year, the growth of the art market in Asia is greater than anywhere in the world. This is due to the strength of the economy in the region and also to the great appetite of Asian collectors for Works of Art of the finest quality.”
44 TPAG | Aug 201 1
CHRISTIE’S Overall results: Six days, 13 auctions total of HK$4 billion (US$515m), a 65% increase over the same period a year ago, 17% over the second half of 2010 (HK$3.4bn/US$440m). Zao WouKi’s ‘2.11.59’ sold for HK$40.9 million/ US$5+million. HKCEC BONHAMS Overall results: The seven sales rang up a total of over HK$212 million, the first time to reach the magic milestone of HK$200 million in its four years in Hong Kong. The top lot was a rare yellow jade incense burner and cover from the mid Qing dynasty, which was sold for an extraordinary HK$8,384,000, an astounding forty times its estimate of HK$200,000-300,000. Island Shangri-la Hotel SEOUL AUCTION Overall results: The top lots sold well, with the entire auction bringing in over HK$32 million/US$4.15m. The top-selling lot was Birds by leading Korean abstract artist Kim Whanki (1913-1974) which fetched HK$6.9million/US$886,154. Mandarin Oriental Hotel Ballroom UAA Overall results: At its fifth sale in Hong Kong, 72 % of 147 lots earned a combined final hammer price of HK$39.55 million. The auction’s top seller was Marc Chagall’s Les Maries du cirque, which sold for a staggering HK$12.64 million/US$1.64m. Hong Kong Exhibition Centre at the China Resources Building. RAVENEL ART GROUP Overall results: HK$197.8 million with over 82% of the lots sold. Sanyu “Five Nudes” sold for a recordbreaking HK$128.32 Million/US$16.5 Million. Grand Hyatt Hotel Ballroom EST-OUEST AUCTIONS Overall results: Contemporary and Fine Arts totaled HK$35.6 million. J. W. Marriott Hotel Ballroom
A rare yellow jade incense from the Qing Dynasty was sold at Bonhams.
PORTFOLIO: Business Model
Revolution: the language of collaboration
By Richard Chua
46 TPAG | Aug 201 1
he translation of international literary works into Mandarin for Taiwanese readers, while making the work more accessible, brings it into an interesting debate. We see these publications lining rows of bookshelves in the Taiwanese popular, albeit elitist, bookstore Eslite. To cultural critics, this is a sign of cultural hegemony, where international works, anchored in their own specific cultural milieu, are being forced into a Chinese one— the argument being that readers may be detached from understanding such works in their own context if they do not read them in their original language. This might be deemed necessary in order to fully appreciate their artistic merit. Interestingly, Taiwan, a world that intersects many, is in a good position to witness this phenomenon and it is one where artistic languages, as well as national ones, are creating new trends in business. Notwithstanding critics of such hegemony, Taiwanese publishers are responding to the possible relegation of Chinese language into a more subservient role by doing the same thing in a different language– they are bringing more international works, often published in English, into the Mandarin fold and from an exciting a new range of sources. Aaron Nieh and publisher Revolution-Star Publication are key activists in this movement. In my recent interview with Nieh, he showed great confidence in the literature of his native language – Mandarin, “As much as the Taiwanese publications look towards publication trends in the American and European markets in order to chart what to
translate next, there is potential for original works in Mandarin to gain acceptance locally. However Mandarin works are yet to gain a strong footing in the world, for Taiwanese publishers haven’t been able to gain self recognition. To me, the new trend is always here, with us. All we need is to do is to engage in what we enjoy doing.” Indeed, pursuing his passion for publishing photo books, Nieh recently worked with Parson-graduated Japanese photographer Eiki Mori on a book project entitled Tokyo Boy Alone – one of his attempts to directly work with international artists in publishing books in Chinese Language, albeit with commercialism in mind. No doubt, this complex process was a challenging one, in formulating quality literature, creating unique design, formulating an effective marketing mix. Interestingly, in order to create an edge against the grain of commercialism, he has chosen to publish the book as a cult item – in a Chinese martial arts novel sense – not unlike a demonic sect. There are many who will not appreciate the aesthetics of a ‘demonic sect’ in the Chinese milieu (a highly subversive sub-cultural set-up
PORTFOLIO Revolution: the language of collaboration
against mainstream culture), but perhaps it is just a label for a new wave of misunderstood arts businesses anchored in the Chinese world. Subversiveness itself might be a new business; but, in the realm of art of course, is a core artistic practice, for artists never readily accept the status-quo. However, anyone who has read the book Tokyo Boy Alone, would already know Revolution-Star and Nieh’s business strategy is to entice readers to engage in bourgeoisie voyeurism. Based on Nieh’s well thought out efforts at selecting the visuals and editing the book, to critique it as an object of self-indulgence is dishonesty at its best, if the imagery is designed to be visually palatable. It is evident that one of Nieh’s business strategies is to place emphasis on local and international collaborations, while keeping pace with the demands of the commercial world. With globalisation taking its toll on the world – we are living in a post-capitalist arena in which everything needs to be discursively justified. International collaboration might be an over-used word, but judging from the overproduction of art biennales around the world (Singapore, included) focusing on collaborations of all-sorts (especially with China and other Chinesespeaking societies); Nieh and Revolution-Star Publication will definitely enter the fray by establishing new forms of international collaboration, and with his own unique aesthetic sense. Undoubtedly, Nieh is in a
Subversiveness itself might be a new business; but in the realm of art, of course, it is a core practice.
good position to achieve this, in his native Taiwan; he has designed album covers for many well-known pop singers, not to mention winning the prestigious Golden Melody Award for his design on singer David Tao’s album entitled From Zero to Hero. Direct criticism is difficult. Such soft voyeurism is created with rigorous artistic intention; discursive justification in commercial products is made possible with unique artistic identities and combinations. So, it would be more constructive to study how new forms of commercial art are to be managed and adapted for contemporary times. With this case in point, and armed with such commercial accolades, Nieh seems poised to subvert the usual practice in Taiwan’s publishing world with his own unique sense of violent-eroticism in art books, and the like. In his recent interview with an online magazine, he claimed that the next book he would be working on – with a Chinese photographer with the moniker 223 – will be totally different from the present project with Eiki Mori – the latter being more cultish than the former.
48 TPAG | Aug 201 1
PORTFOLIO Revolution: the language of collaboration
There is a need to question an artist’s strategy in his or her art-work in a larger social context, in specific cultural milieus, in his or her works’ interaction with its audiences.
As editor of the book, Aaron Nieh has an acute sense of what readers want, their reading habits, and their reading idiosyncrasies. There are lots of considerations involved. So, again, a critique of the ‘frivolity’ of commercialism itself is not a fair one. What’s at stake here is Nieh’s aesthetic considerations when publishing the book Tokyo Boy Alone. His working relationship with Mori is also of importance. According to Nieh, he did not pander to both the photographer and the audience’s tastes by including personal photo favourites. He selected ones that are necessary for the photo book, despite protests from the photographer himself. What’s pertinent here is Nieh’s strategy in balancing his own personal favourites; his audience’s and Mori’s. In addition, according to Nieh, it was Mori’s sense of “clean-ness in the photography, coupled with poetry situated within the context of loneliness” that enticed him. Most importantly, Mori’s work is “a form of erotic art, and not pornographic in feel”. These artistic considerations are by no means
frivolous and balancing commercial demands against a quality artistic presentation is never easy, but on a closer look, these two elements are not so different from each other. Commercial demands about showing the personal and the intimate in photography subjects can coexist with photos that are taken with great skill. Granted. No one is able to please everybody – a common statement that artists use in responding to critics’ comments. Rather than engage in a never-ending tussle of differing artistic ideologies, the notion “artist’s inability to please everybody” should be critically discussed. There is a need to question an artist’s strategy in his or her art-work in a larger social context, in specific cultural milieus, in his or her works’ interaction with its audiences. The art business in this respect needs to take into consideration the contestation between these elements. The pivotal point, however, lies with its spectators. The Taiwanese Nieh has his own following. Judging from the number of ‘likes’, and slews of feedback from netizens on Nieh’s status updates/postings, one could see that his aesthetics have a strong appeal. One major factor is Nieh’s personal appeal and physical aesthetics –a physically appealing alpha-male designer seems to have entered the common imagination. The Chinese lexicon, Swordsman Nieh （聶大 俠） and Handsome Nieh （聶帥） has the semiotic references of a trend-setter, a movement leader, the common imagination of a person
50 TPAG | Aug 201 1
Revolution Star Publication
Eiki Mori and Aaron Nieh at a press conference on Tokyo Boy Alone.
everybody would like to be. These characteristics have contributed greatly to the successes of Nieh and Revolution-Star Publication. Hence Nieh’s use of social media as a marketing and publicity mechanism – a strategic and yet successful move towards great acceptance – or as I would like to suggest: reinforcing a common imagination – of his personality and work. Tokyo Boy Alone is an interesting case in point. There is an evident discomfort with what is perceived by some as pornography – judging on the rate Facebook has deleted some of Mori’s more sensual photos on his marketing and publicity group page – and what Mori would like to portray artistically in his photographs, albeit personal likes and dislikes, about young men living alone in Tokyo. But ultimately, what might work against Nieh and Revolution-Star Publication are the demands levied on its content, asking for more intellectual rigour. History might be their nemesis. For the history of its publications, the social impact of its intent, the effect of Revolution-Star
Publication’s aesthetics on the hegemony of a certain brand of aesthetics will contribute to the politics of the different types of aesthetics in both the art and design world. It might be a good sign for the art world, for the demand is an indication that the general level of arts appreciation in many countries has indeed improved, with its spectators asking for more, but it would definitely place considerable pressure on Nieh as the leader of the pack in the Taipei – possibly Taiwan – design scene. Either way, it could be seen as a blessing, for Nieh and RevolutionStar Publication will be able to progress to its next level of development, when the intellectual-rigorous public has levied demands on its artworks. Nieh possesses a quiet quality that could help propel this progress. When asked if awards would be a “burden” to him and his works, he plainly said that it wouldn’t be the case. In addition, he would also not fall into the “recesses of romanticism in recognising his own achievement”.
Tracks of Time
By Gladys Teo
or Pooja Makhijani, a New Yorker living in Singapore, the discourse over the closure of the landmark Tanjong Pagar Railway Station in the last couple of months presented an interesting experience from a foreigner’s point of view; she had never seen such “intense passion” in “culturally austere” Singapore. Her observation is absolutely right, do a Google search on the subject and you will be rewarded with a wealth of articles, blog entries, social media forums and groups, dedicated websites paying tribute to the railway station and the tracks. One would think that this dis-
course might be centred around the bilateral relations between Singapore and Malaysia, after all the station was to be moved as part of a historic ‘land swap deal’ that finally crystallised after years of negotiation between Singapore and Malaysia; Malaysia was to receive six land parcels in Marina South and the Ophir-Rochor area in exchange for giving up six Malayan Railway sites in Tanjong Pagar, Kranji, Woodlands and Bukit Timah. In fact, Pooja first read about it when the land swap deal was reported in major newspapers in New York. Contrary to initial thoughts, however, it
52 TPAG | Aug 201 1
seems that much of the discussion has skipped past bilateral politics and instead ventured into a deeper space that has gathered a quick and great momentum. According to Dr Lai Chee Kien, assistant professor at the NUS’ architecture department, the railway station represents connections that go beyond politics, encompassing economic, geographical, historical and social ties. It appears that it is the historical strings that have struck a chord – Singaporeans have been hit with a wave of nostalgia, and this is evident from the crowds of city dwellers, young and old, who thronged the station and the tracks between May to July. The plethora of photographs posted on blogs and social media websites, mostly rendered in blackand-white or retro colour palettes, embody nostalgia and remembrance of the past. Film screening showcasing a body of short videos and footages compiled from different contributors were organised independently to allow anyone and everyone to share their memories of the space. Local artists are also quick at picking up the sentiment of the impending loss of the historic landmark. Tracking Memories, a collaboration between Kwek Leng Joo, business leader and photographer, and Ong Kim Seng, Singapore’s established watercolourist, is offering audiences at the National Museum a peek into the artists’ own memories of the railway. Whilst Kwek’s renditions are stylised black-and-white camera shots, Ong retained his trademark style of portraying scenes from Singapore’s past using subject matters that en-
The railway station represents connections that go beyond politics, encompassing economic, geographical, historical and social ties.
capsulate history and heritage, employing pristine brush techniques with watercolours that achieve the subdued yet elegant essence of these places of the past. Overnight, everybody wanted to ride on the KTM (Malaysian Rail) train to Tanjong Pagar again, when such train rides had been long replaced with cheap and more convenient buses and flights. People flocked back in search of old memories. 27-year-old Stephen Tan recounted how he took the train journey to Taman Negara on a school trip when he was a 13 – he remembered the smoky cabins, the rickety and worn seats, the provision shop at the rear of the train when he could purchase cup noodles or a cup of hot tea, only to find these gone when he took the ride last month. On the final train ride back to Tanjong Pagar on 30 June, Pooja travelled with her Malaysian friend who had moved to Singapore when she was young. She still vividly remembers how her mum dropped her off at the station before heading back to Malaysia. She was 15 then. Others went in search of new memories. Stephen met an uncle in his forties who was taking the train for the first time. For this uncle who was in a self-professed midlife crisis, the ride was representative of
“Singapore is in a midlife crisis herself, where we have gone past the city stage.”
him embarking on a new journey of ‘firsts’, including his first step toward finding companionship with a bride whom he could settle down with. For many others, especially the younger commuters, the final months of the station being in operation would be the first and last time they could participate in a journey that would soon be reaching its end. Why are Singaporeans so nostalgic of the past? Surely members of the younger generation who have no memory of the past can’t be feeling melancholy or yearning over something that they have not experienced? This is not really a disconnect, Stephen postulates, “Singapore is in a midlife crisis herself, where we have gone past the city stage and are looking for something beyond economic growth. Like the uncle, we are at the crossroads of the past and the future. We always want to move forward, move on, leaving things behind us. The idea of dated memories evokes nostalgia and longing in people even though they may not have a direct memory of a certain place.” He observes how even though his peers may not have lived in the past, they are constantly drawn towards static displays of the past and history, including visiting museums and digging through family albums.
54 TPAG | Aug 201 1
A same view is reiterated by Pooja, who is constantly amazed at the speed of change in Singapore. “Singapore is progressing so rapidly, yet there is the attitude of looking backwards. This attitude of looking backwards is not unique, in New York, another transient city that is constantly shifting and growing, people still remember how Times Square was dirty and gritty, ridden with drugs and prostitutes, even though all these have given way to corporatisation, with bright shiny Disneyworld and Hersheys at every corner. However, buildings don’t get torn down and replaced, unlike in Singapore; a lot of things remain the same... The speed of things going down and coming up and going down so quickly gets to people, I mean, you even have teenagers being nostalgic about their primary school, about their old flats! They’re reminiscing about things which were present less than 5 years ago.” As Stephen further rationalises, perhaps this wave of nostalgia and demand for preservation has transcended into a larger discourse of participation and decision making. The political landscape in Singapore has changed rapidly as well, and riding on the waves of the recent election fever and parliamentary changes, Singaporeans have a newly energised spirit of activism. “Maybe we are starting to question our own motives, maybe we are starting to see a conflict between money and nationhood. It’s a good thing, there is more involvement in local politics, more engagement, and all this
is part of the larger picture of influencing decisions and being part of the process. We want to be able to speak for our interests, be it in politics or in the railway removal.” No one knows what is going to happen to the railway station or the railway track path yet. There are cries to the Urban Development Authority to preserve the green corridor, cries to preserve the railway station as a place of national heritage, cries to stop the transformation of these places into commercial buildings or shopping malls. Yet, one thing is certain. The railway station has, unexpectedly, already been gazetted as a national memory for countless number of people. They have all found new ways of creating and preserving these memories, through digital photographs that can be immortalized through the internet space; through forums and organized activism that they will surely recount to their children and grandchildren. I too have created my own railway experience despite never having taken the train nor spent more than an hour at the station itself – through the stories of Stephen
and Pooja, through the text and photos of bloggers and Facebook groups, through the discourse that has wrapped and will wrap Singapore politics in the next months to come. While I have been awed at the architecture of the station and rambled along the rocks of the track between Holland Drive and Commonwealth over the last few days of July, I won’t miss the taste of the infamous nasi briyani at the station, nor the sights and sounds of the train journey between Woodlands and Tanjong Pagar because I have missed the chance to experience them. But will this new memory of the space, created by a collage of anecdotes from strangers bounded by a sentiment of impending loss and nostalgia, create a similar wave of longing and reminiscence in me when the last bits of the tracks are finally removed and the station bulldozed to emptiness? I think so. Special thanks goes to Stephen Tan and Pooja Mahijani for sharing their experiences and beautiful photos. They can be contacted at stephen. goofs@gmail and notabilia.wordpress.com respectively.
Montage III - Zu Garbriele Mistral”, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s
58 / TPAG
SINGAPORE’S ART & HERITAGE DISTRICT
- Art Forum - The Tolman Collection
E U AV
CLE MEN CEA
- Pop and Contemporary Fine Art - Gallery Reis Artspace @ The Royal on Scotts
Third Floor Hermes
- Heng Artland - Jasmine Fine Art - Sin Hua Gallery - Drawing Gallery Opera Gallery Vue Privée
YOUR Mother Gallery
M.A.D (Museum of Art & Design)
Young Musicians’ Society Forest Rain Gallery Singapore Calligraphy Centre
Foundation Oil Painting
CA IR NH ILL RD
Night & Day
OVAS Art Gallery
Art Trove, The Private Museum, M Gallery, Yavuz FA 8Q SAM
Singapore Art Museum
RIVER VALLEY RD
Fort Canning Park
National Museum of Singapore
Eagle’s Eye Art Gallery
The Substation Peranakan Museum
Chan Hampe Galleries
KIM SE NG RO AD
DBS Arts Centre Singapore Repertory Theatre
Singapore Philatelic Museum
The National Art Gallery, Singapore
M ER CH
AN T RD
59 / TPAG
EASTCOAST PARK EXPRESSWAY
AN DR DEMPSEY, HOLLAND, TANGLIN & WESSEX OA
MAIN ROAD SMALL ROAD EXPRESSWAY
Singapore Botanical Garden
Source Contemporary African Fine Art
PUBLIC PLACES SCHOOLS
IN GL A RO D
The Gallery of Gnani Arts, GJ Asian Art
Boon’s Pottery, Bruno Gallery
Barrosa Studio, D’Art, Geeleinan Art Gallery & Studio, Kelly Reedy Studio Arts, Marisa Keller, Sealey Brandt Photography Studio,
The Peach Tree
Echo Art Gallerie Ha Karen Art Gallery Hogarth Art London Kwan Hua Art Gallery Li Fine Art Mulan Gallery Peter’s Frame Sun Craft Yang Gallery
TANJONG PAGAR, CHINATOWN & RAFFLES
Art Trove Gallery 51 Waterloo Street #02-01/2/3 Singapore 187969
EASTCOAST PARK EXPRESSWAY
T: +65 6336 0915 F: +65 6336 9975 E: email@example.com W: www.art-trove.com Opening Hours Wed- Sun: 11am to 6.30pm Call for private viewing
DreamSpace Art Studio Sotheby’s Institute of Art Collectors Contemporary, Mercedes-Benz Center, Volvo Art Loft Galerie Sogan & Art
QU ER CO LLY
MERLION iPRECIATION The Fullerton Heritage
GE SO UT H BR ID
NG PA GAR
D IL R
Jeremy Ramsey Fine Art
Chan Hampe / Fill-your-walls Living Portrait
Red Dot Traffic
Indigo Blue Art
Artcommune Gallery, Ken Crystals
W EL L RD
AYER RAJAH EXPRESSWAY
Fortune Cookie Projects, Galerie Waterton, Light Editions Gallery, L2 SPACE, ReDot Gallery, Valentine Willie Fine Art
Tanjong Pagar Station
Marina Bay Station
MEN D TR
MARCH 2011 / 63 JUNE 2011 / 62
51, Waterloo Street, #02-01/02/03, Singapore 187969
Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, firstname.lastname@example.org ww.art-trove.com JUNE 2011 / 59
62 Singapore Galleries 64 Art Auctioneers 64 Museums 64 Art Services 65 Conservation/Restoration 65 Art Schools 65 Artist Studios 66 Hong Kong Galleries 66 Other International Galleries 66 Art Fairs
in alphabetical order
Chan Hampe Galleries @ Tanjong Pagar
21 Tanjong Pagar Road, #04-02, Singapore 088444 v +65 6222 1667 www.chanhampegalleries.com
Weekdays: 10am-6pm Weekends: 11am-4pm Closed Wednesday and Public Holidays
51 Waterloo Street, #02-01, Singapore 187969 v +65 6336 0915 Y email@example.com www.art-trove.com
Wed - Sun: 11am-6.30pm
91 Tanglin Road, #01-03 Tanglin Place, Singapore 247918 v +65 6733 0283 Y firstname.lastname@example.org www.brunoartgroup.com
Weekdays: Tue - Fri: 10am-7pm Weekend: Sat & Sun 11am-8pm Closed on Monday
DaTang Fine Arts Singapore
Cape of Good Hope Art Gallery ARTXCHANGE Gallery
6 Eu Tong Sen Street, #02-65, The Central, Singapore 059817 v +65 9027 3997 Y email@example.com www.artxchangegallery.com
Mon - Sat: 11am-9pm
177 River Valley Road, Liang Court, #02-09A, Singapore 179030 v +65 9846 2098/9721 3718 www.9911art.com
140 Hill Street, #01-06, MICA Building, Singapore 179369 v +65 6733 3822 Y capeofgoodhope@pacific. net.sg www.capeofgoodhope.com.sg
Forest Rain Gallery
261 Waterloo Street, #02-43/44, Singapore 180261 v +65 6336 0926 Y firstname.lastname@example.org www.forestraingallery.com
91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918 v +65 6836 3978 www.boonspottery.com
Daily: 11am-6pm. Closed on Public Holidays
Chan Hampe Galleries @ Raffles Hotel
Tue - Fri: 11am-7pm; Sat - Sun: 11am-5pm.
328 North Bridge Road, #01-04, Raffles Hotel Arcade, Singapore 188719 v +65 6338 1962 www.chanhampegalleries.com
Daily: 11am-7pm. Closed on Public Holidays
62 TPAG | Aug 201 1
The Gallery of Gnani Arts
1 Cuscaden Road, #01-05, The Regent, Singapore 249715 v +65 6725 3112 Y email@example.com www.gnaniarts.com
Tue - Sun: 11am-7pm
OVAS Art Gallery
9 Penang Road, #02-21 Park Mall, Singapore 238459 v +65 6337 3932 www.ovas-home.com
43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 v +65 6738 2317 Y firstname.lastname@example.org www.sunjingalleries.com.sg
Tue - Fri: 11am-7pm; Sat: 11am-6pm
290 Orchard Road, #04-08 Paragon, Singapore 238859 v +65 6738 4380 Y email@example.com www.hengartland.com
Pop and Contemporary Fine Art
Indigo Blue Art
33 Neil Road, Singapore 088820 v +65 6372 1719/38 Y firstname.lastname@example.org www.indigoblueart.com
Mon - Sat: 11am-6pm
390 Orchard Road, #03-12 Palais Renaissance, Singapore 238871 v +65 6735 0959 Y email@example.com www.popandcontemporaryart.com
Tue - Sat: 11.30am-6.30pm; Sun: 12noon-5pm
Established in 2000, Sunjin has built a strong reputation representing some of the leading and most sought after artist in the region. The Gallery has also actively identified and promoted new talents, introducing new and exciting names for the art buying public to invest in. Recently, at the 11th Beijing International Art Exhibition in 2008, the gallery was awarded by the Ministry of Culture PRC a certificate recognising the gallery as one of the “Top 10th most influential galleries of 2008”.
6 Eu Tong Sen Street, #03-72, The Central, Singapore 059817 v +65 6339 0008 Y firstname.lastname@example.org
Mon - Sat: 11am-7pm; Sun: 1pm-5pm.
Galerie Sogan & Art
33B Mosque Street, Singapore 059511 v +65 6225 7686 Y email@example.com www.soganart.com
Mon - Sat: 12noon-7.30pm; Sun: 2pm-5pm
229A South Bridge Road, Singapore 058778 v +65 6226 2605 Y firstname.lastname@example.org
Mon - Sat: 11.30am-8pm; Sun: 12noon-5.30pm
Muse The Art Gallery
Mon - Fri: 8.30am-5.30pm
4 Toh Tuck Links, Unit 01 – 01 Singapore 596226 v +65 6762 6617 Y email@example.com
art directories Museums
Yisulang Art Gallery The Luxe Art Museum Singapore Art Museum
71 Bras Basah Road
6 Handy Road, #01-01, The Luxe, Singapore 229234 v +65 6337 6810 Y firstname.lastname@example.org http://yisulang.com
Tue - Sun: 11am-7pm
SAM at 8Q
8 Queen Street v +65 6332 3222 Y email@example.com www.singaporeartmuseum.sg
6 Handy Road, #02-01, The Luxe, Singapore 229234 v +65 6338 2234 Y firstname.lastname@example.org www.thelam.sg
Tues - Sun: 11am-7pm
Christie’s Hong Kong Limited
22/F, Alexandra House, 18 Chater Road, Central, Hong Kong v (852) 2521 5396 www.christies.com
Mon - Sun: 10am-7pm, Last admission at 6.15pm Fri: 10am-9pm, Free admission on Friday night: 6pm-9pm Opened in January 1996, the mission of the Singapore Art Museum (SAM) is to preserve and present the art histories and contemporary art practices of Singapore and the Southeast Asian region. SAM has amassed one of the world’s largest public collection of modern and contemporary Southeast Asian artworks. The museum’s extension building, SAM at 8Q, was opened in August 2008, expanding the museum’s contemporary art space to present fresh, multi-disciplinary, interactive and community-oriented programming.
v +65 8611 5280 Y email@example.com
Transportation & Installation of Art Works and other Art related services.
Ray’s Transport & Services
v +65 9152 2511 Y firstname.lastname@example.org
Artwork Installation & Delivery Services.
National Museum of Singapore
93 Stamford Road, Singapore 178897 v +65 6332 3659 / 5642 Y nhb_nm_corpcomms@nhb. gov.sg www.nationalmuseum.sg
Santa Fe Art Solutions
v +65 6398 8518 M: 9758 8294 Y email@example.com
Specialized services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.
Daily: 10am-6pm; Last admission at 5.30pm
64 TPAG | Aug 201 1
Conservation / Restoration
Foundation Oil Painting (Conducted by Mr Wee Shoo Leong)
PIA Preserve in Aesthetics
63 HillView Avenue, #02-06B, Lam Soon Industrial Building, Singapore 669569 v +65 6760 2602 / +65 9118 7478 Y firstname.lastname@example.org www.thepiastudio.com
Specialised in Paper & Book Conservation. Art Preservation, Conservation and Restoration.
National University of Singapore Museum (NUS)
University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279 v +65 6516 8817 Y email@example.com www.nus.edu.sg/museum
155 Waterloo Street, #01-04, Stamford Arts Centre, Singapore 187962 v +65 9726 2028 www.foundationoilpaintingclass. com
Koeh Sia Yong 许锡勇
Renate Kant Studio
8 Shrewsbury Road, Singapore 307810 (near Novena MRT) v +65 9680 3534 / +65 6254 9549 Y firstname.lastname@example.org www.kantconservation.com.sg
Conservation and Restoration of Painting. Founded in 1978. Museums trained painting conservation. Member of German Conservators Association (DRV). 15 years experience in Asia.
Chieu Sheuy Fook Studio
10 Kampong Eunos, Singapore 417774 v +65 9671 2940 Y email@example.com www.yessy.com/koehsiayong www.koehsiayong. artfederations.com
Studio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985 v +65 9669 0589 Y firstname.lastname@example.org
DreamSpace Art Studio 艺术创作，专业绘画教育。
19 China Street, #03-04/05 Far East Square, Singapore 049561 v +65 9168 7785 Y email@example.com www.hill-ad.com.sg
art directories Hong Kong Galleries
GALERIE CHRISTIAN LETHERT Karin Weber Gallery
Antwerpener Strasse 4 D - 50672 Köln (Cologne) Germany v +49 (0)22 1356 0590 www.christianlethert.com
Singapore Affordable Art Fair
Art Stage Singapore ARTSingapore
G/F, 20 Aberdeen Street Central, Hong Kong (Close to Hollywood Road) v (852) 2544 5004 Y firstname.lastname@example.org www.karinwebergallery.com
Mon - Sat: 11am-7pm; Sun: 2pm-6pm
Alan Cristea Gallery
31 & 34 Cork Street, London W1S 3NU v +44 (0)20 7439 18 66 Y email@example.com www.alancristea.com
Hong Kong International Art Fair (ART HK)
China International Gallery Exposition (CIGE)
White Cube Koru Contemporary Art
Shanghai Art Fair Art Beijing
Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong v (852) 2580 5922 / (852) 2580 9203 Y firstname.lastname@example.org www.koru-hk.com
Tue - Sat: 11am-6pm or by appointment
48 Hoxton Square, London N1 6PB v +44 (0)20 7930 53 73 www.whitecube.com
Art Revolution Taipei
Fine Art Asia
L & M Arts
Art Expo Malaysia
45 East 78 Street New York 10075 v +1 212 861 0020 www.lmgallery.com
Contemporary Istanbul Art Fair Art Dubai
Art Fair Tokyo Flo Peters Gallery
www.artfairtokyo.com Chilehaus C, Pumpen 8, 20095 Hamburg, Germany v +49 40 3037 4686 Y email@example.com www.flopetersgallery.com Get listed with TPAG. Gallery listing Package: SGD700 (per annum) inclusions of one image, address, contact details & operating hours and gallery description. Standard listing: SGD500 (per annum) inclusions of address, contact details and operating hours. Email us for sales form at firstname.lastname@example.org
66 TPAG | Aug 201 1
TPAG ART TOURS:
will launch TPAG Art Tours. This brings art lovers from around the world toHong Kong’s art scenes, art exhibitions, events and activities. Participating galleries, artists, companies and organisations have a chance to showcase their venue and artists.
Please join us and email to email@example.com to sign up the Hong Kong Art Tour.
Artwork • Exhibition space • Art lessons • Art materials
Oil on Canvas Size: 130 x 97 cm Asking price: EUR2,000 Artist : Moroccan artist Mohamed Tahdaini’s abstract artwork has been exhibited globally. Contact: firstname.lastname@example.org
Title: Bergen Rain Medium: colour pencils Size: 60 x 30 cm Asking price: EUR 250 Artist: Yuka Matsuhashi is a Japanese illustrator and artist. Contact: email@example.com
Space for hire
Title: Bar Girls Medium: Giclee print on canvas limted edition of 25. Size: 76 X 71 cm Asking price: price (prior to commission) US$550 on unstretched canvas or US$625 stretched on 1 1/2” thick stretcher bars, “gallery wrapped” or Stretched & Framed US$800 (shadow box ‘floater’ frame). Artist: American artist Jack Massey captures the power of the ordinary in his artwork. Contact: firstname.lastname@example.org
Space for hire
Title: Angelic Dissolve Medium: Oil on Canvas Size: 54 X 50 cm Asking price: EUROs 270 Artist: Dave Askew is a British abstract artist Contact: email@example.com Our ad space offers an affordable way for artists to showcase their work. It is also a marketplace for anything that can facilitate the art world. For more information, email: firstname.lastname@example.org.
68 TPAG | Aug 201 1