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Wu Qiong, “The Hairstylist”, 150 x 110 cm, oil on canvas
Sunjin Galleries (S) Pte Ltd Village: 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278 115 Shenton Way: 2 Mistri Road, #01-02 Lumiere, Singapore 079 624 Tel: 6738 2317 | www.sunjingalleries.com.sg | blog: www.sunjingalleries.blogspot.com
Co nte nts
T PAG Ma r c h 2 0 1 2 / I s s u e 2 9
EDITOR’S LETTER ART WIRE
Gallery updates and events
Learning to Fly
IN ThE FRAME
Beauty in the Remaking
Centre of Change
Ghosts of the Lost Garden
From Architect’s Vision to ‘Vertical Slum’
Art in the Heart of Asia
Art Galleries in Singapore
DIRECTORY LISTING CLASSIFIED
Where the Blood flows
e di tor’ s
l e tte r
ISSN 2010-4375 / MICA (P) 130/03/2011
Remo Notarianni firstname.lastname@example.org
The themes in the March 2012 issue of The Pocket Arts Guide (TPAG) may not be obvious but they connect in subtle ways. It proves that even with the global diversity of the art world at the moment, and the new art that appears to be rising out of nowhere in all corners of the world, it is still possible to find commonalities. This issue, in many ways, looks at how artists respond to their environments. Perspectives looks closely at the American cityscape and the images of its anti-urbanist “realists” at the turn of the 20th century as well as the impact their images had on art forms such as cinema, and how this has continued into the 21st century. In the Frame this month is about the reflective work of Beijing artist Wu Qiong, whose childlike figures could easily be representatives of his generation, in a China that seems to offer a very new and different experience, at least to some. Space rigorously analyses how Singapore successfully put the ideas of Japanese Metabolist art into practice decades ago, but the indifference of modern Singapore is making it fall into ruin. A friend of mine recently commented that the critical language of art and the interpretations given to individual art pieces are not intended by the artists. Writers, aficionados and critics read them into it. The artists themselves may agree with the interpretation at some point, if it helps others understand the work. I almost subscribe to this opinion, but I believe that even if there are no preset messages, the artwork is a response, either to something inside the writer, people, or the environment. And if it comes out subconsciously, it may just be a language that we are yet to fully comprehend.
Melvin Ho email@example.com
Rudabah Abbass, Gladys Teo, Daniela Beltrani
ADvErtISINg & MEDIA PArtNErShIP
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ON thE COvEr
Remo Notarianni editor-in-Chief
Tattoo Boy, 2011 120 X 100 cm, Oil on Canvas
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Published monthly, complimentary copies of TPAG are available at several places in Singapore and Hong Kong. SINGAPORE: Copies are distributed at the Singapore Art Museum (SAM), Asian Civilisation Museum, Alliance Francaise, NUS Cultural Centre, Singapore Tourism Board’s Ticket Cube along Orchard Road, leading art galleries (Sunjin @ Holland Village, The Luxe Museum @ Handy Rd, Chan Hampe @ Raffles Hotel, Art Trove @ Waterloo Street, Bruno Gallery @ Tanglin Place and more). Browsing copies are also available at the American Club, British Club, Singapore Cricket Club, Suites of Gallery Hotel, Presidential Suite of Goodwood Park Hotel, Residence at Martin No. 38, Hilltops, The Marq on Paterson Hill, Affluent Banking Centres of Maybank and more. HONG KONG: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.
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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 KWF Printing. 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.
lluminations - A solo exhibition by Aung Kyaw Htet 15.02.12 — 11.03.12
Chan Hampe Galleries @ Raffles Hotel www.chanhampegalleries.com
Gerard Rancinan: Solo Exhibition 09.03.12 — 25.03.12
Asia Pacific Breweries Foundation Signature Art Prize 2011 Finalists Exhibition 11.11.11 — 04.03.12
Singapore Art Museum www.singaporeartmuseum.sg
Opera Gallery Singapore at ION Orchard www.operagallery.com
Chan Hampe Galleries is delighted to present Singapore audiences with an exceptional series of oil paintings from Burmese artist Aung Kyaw Htet in his solo exhibition Illuminations, which also coincides with the opening of his concurrent exhibition in Bangkok. Aung’s paintings have achieved the highest price at auction of any artist from Burma. Being a devout Buddhist who grew up in a small village, the philosophy has undoubtedly had a large influence on Aung’s artistic practice. This is seen through his exquisite balance of realism and sensitivity of subjects. Aung’s depictions of novice monks and nuns unleash questions about the slippery social environment of Burma and the role of romanticism under such conditions. For more than a decade, Aung has quietly produced some of the most coherent, nuanced, and resonant bodies of artworks from Burma.
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Gerard Rancinan burst onto the art scene, the world of photography and by many turns, the world of social critique with a uniquely powerful creative swing. His personal and professional journey has not just progressed through the physical production of photography, but through his unique analysis of the heart and soul of mankind. Posted as one of the highestranking photographers in France in 2008, Rancinan is an already iconic, endlessly productive and superbly talented artist. His work now features in the most critical contemporary art collections in the world. Having earned a series of arts awards, personally involved in several communication campaigns and many more enterprises besides, this artist is understandably in demand worldwide. Rancinan’s work is undeniably controversial yet simultaneously beautiful, earning him immense respect and renown amongst his contemporaries as well as his peers.
The Asia Pacific Breweries (APB) Foundation Signature Art Prize is an award to recognise artists whose artworks represent a significant development in contemporary visual art in the Asia Pacific region. Aimed at recognising the single most outstanding contemporary visual artwork produced in the preceding three years, the award is open, by nomination, to all visual artworks, regardless of medium, subject matter and size. Now in its second instalment, the award reaches out to 24 countries and territories in the region, including Australia, China, India, Indonesia, Japan, Korea, New Zealand, Mongolia, the Oceania islands, the Philippines, Singapore, Thailand, Vietnam and many others. From the 130 nominated artworks, 15 finalist artworks were selected and exhibited in SAM. The exhibition offers an excellent opportunity to see and discover some of the most exciting contemporary art produced in this dynamic region in the last three years. An international jury will then convene to judge the exhibited finalist artworks and select the winning artworks.
Spirit of the Eagle 03.03.12 — 12.03.12.
ROOTS: A Visual Arts Exhibition on Cultural Heritage 03.03.12 — 08.03.12.
The Lure of Mekong 23.02.12 — 18.03.12
M Gallery www.mgallery.com.sg
MAD Museum of Art And Design www.madmad.com.sg
The Glass Hall, Singapore Art Museum (SAM) www.wix.com/2012roots/exhibition
“The Lure of Mekong” is a joint exhibition featuring two distinct bodies of artwork that capture the allure of the Mekong region by artists Sivilay Souvannasing (Laos) and Songwoot Kaewvisit (Thailand). Sivilay applies his trademark approach of heavy layers of oil and complex juxtapositions of imagery, capturing scenes of marketplaces, festivals and the Hmong people, whilst Songwoot captures the glorious moments of harvest with his depiction of farmers amidst vast, golden fields of rice. This exhibition is the first instalment under the Mekong Collective Series 2012 by M Gallery which showcases creative talents from the Mekong region. This exhibition offers a close look at the region, its beauty and the spirit of its creativity and natural wonders.
Zhang Ce was born in 1957 in Tieling, Liaoning, China. He is a Member of China Artists’ Association, Director of Traditional Chinese Realistic Painting Association, Liaoning Fine Arts Association Vice-chairman, Tieling Painting Research Institute Dean, National Artist. Zhang, a free-spirited character, was born into an artist’s family. A talented and innovative artist, he is no stranger to many provincial and national awards for his paintings since the age of 19. Zhang studied traditional techniques and draws on them but in his final artistic expression he never reproduces the ancient styles. Instead he builds from these techniques and evokes the folk spirit and expresses Western styles in his work. As a result of this, his imagery is vivid, elegant and refreshing. Zhang Ce found his passion in painting eagles and has been fondly called “the number one painter of the Eagle in modern China”.
ROOTS is a contemporary visual arts exhibition that explores the relevance of cultural heritage in relation to the rootedness of an individual to his/her homeland. It looks at it through contemporary eyes. The exhibition will feature a diverse selection of works by a group of contemporary visual artists who seek to highlight the rising concerns over the painful erosion of cultural heritage, a jarring result of a fledging nation’s rapid progression into the league of the First World. With overlapping themes on the gradual loss of one’s own traditions, muted stories of a buried history, and threats from the disarming face of urban development, Justin Lee, Gerson Gilrandy and many other artists are setting out to give heritage its voice back. The artists peel the veil of sterility that shroud society’s indifference, with abstractions so deafening that it leaves the individual questioning: What is it that ‘roots’ us presently?
Insight: A Solo Exhibition by Victor Tan 29.02.12 — 03.03.12
Lasalle College of Arts www.mylasalle.sg
“Daixy Galasy” An exhibition of paintings by local artists Dina Razak and Fyerool Darma 02.03.12 — 09.03.12
INSTINC SOHO www.instinc.com
Merapi: Beyond the Myths by Heri Dono from Indonesia 22.02.12 — 10.03.12
Alliance Francaise de Singapour Generale Private Banking Gallery www.alliancefrancaise.org.sg
Whereas Insight might be defined as the capacity to gain an accurate and deep intuitive understanding of a person, In sight of is about being visible, near at hand or physically close to an object. This exhibition, curated by Dr Charles Merewether, presents a series of sculptures made of wire by local artist Victor Tan. His wires take on human form, and explore existential ideas about humanity, the innocence of the human emotions in the moment, and the passage of time and life. The exhibition would help the public gain insight into the artist’s creative process. His sculptures taking on a human form in movements such as sleeping, climbing, running, flight – they come to life, evoking different ranges of emotions within each individual. Shadows come to play as well, creating a 2D image on the wall. “It begs the viewers now to ask, do we look at the 3D work or the 2D drawings on the wall?”
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“Humans are like daisies; naive beings always in search of better things for our future, which here, is portrayed as the galaxy. Now, the priority changes to the self. We want to look good and be accepted by society and its idealistic approach to life. We are very hopeful, constantly longing for something. It is but impossible to neglect our personal experience of being more or less human. We would like to celebrate the individualities that are reflected through our various approaches. “Daixy Galasy” showcases a personal need to run back to our period of innocence. We continuously revert back to a place where we feel comfortable. We would like to depict the idea of looking back at our memory and childhood in our series of works. They will personally carry with them a certain atmosphere in which some elements will remind one of their childhoods, be it joyous or dull.”
As part of A Week of Indonesian Culture in Singapore organised by the Alliance Française de Singapour, SOCIETE GENERALE Private Banking Gallery is holding an exhibition. SOCIETE GENERALE Private Banking Gallery is holding an exhibition entitled Merapi: Beyond the Myths by Heri Dono from Indonesia. This exhibition showcases around five installations made up of bricks, water tanks and sand as well as 40 drawings and 13 paintings revolving on the subject of the community and beliefs at the Merapi volcanic region. Heri Dono is known through his installation that results from his experiments with the most popular Javanese folk theater: wayang. In the wayang performance, a number of artistic and extraartistic elements – visual arts, singing, music, storytelling, mythology promotion of a philosophy of life, social criticisms, and humor - merge into a coherent unity to make a generic performance comprising complex elements of multimedia.
First ever solo exhibition in Singapore of works by Gretchen Ryan
Opening on March 2nd Galerie Steph www.galeriesteph.com
Revitalising the Glorious Tradition:The Retrospective Exhibition of Pan Tanshou’s Art
25.12.11 – 02.05.12 Hong Kong Museum of Art www.lcsd.gov.hk/ce/Museum/ Arts/english/exhibitions/exhibitions01_oct11_02.html
Galerie Steph, together with Fred Torres Collaborations (New York), is proud to present the first Singapore exhibition of provocative Los Angeles‐based artist Gretchen Ryan. On view will be new paintings, charcoal drawings and photographs, many created exclusively for the Singapore exhibition. Born in Boulder, Colorado, Gretchen Ryan creates portraits of young girls—often beauty pageant contestants—that explore disturbing notions of objectification, precocious sexuality and innocence. Ryan forces us to question how Western parents raise their daughters in a disturbingly sexualized youth culture, and how we treat female sexuality and youth. Although Ryan’s work focuses on the fetishized world of child beauty pageants, she approaches her canvas with a deep respect for her models and the use of traditional portraiture techniques. Gretchen’s portraits capture expressions of fear and dismay that traditional pageant imagery glosses over.
福島核災一周年展 01.03.12— 14.03.12 The Fringe Club www.hkfringe.com.hk/va_ en.html
Fukushima Anniversary Exhibition
Acclaimed by critics and art historians as one of the four giants of traditional painting, Pan Tianshou (1897 – 1971) was a leading exponent of modern Chinese art history. He developed a unique style which is characterised by expressive brushwork, vigorous form, forceful composition and monumental scale. Pan was an outstanding graduate of the Zhejiang Provincial First Normal College. He taught at a succession of art schools including the Shanghai College of Fine Arts, the Xinhua Art College, and the Hangzhou National College of Art. Selected from the Pan Tianshou Memorial Museum in Hangzhou, the exhibition features 36 works including landscape as well as flower and bird paintings and also calligraphy, accompanied by a number of valuable documents. It is a look at the timeless and the historical.
Three hundred and sixty-five days after the Fukushima nuclear crisis, as life goes on in Hong Kong, Japan is still striving to deal with the aftermath, which will probably last for the next few decades. In recent decades, the devastating effects of nuclear power have been evident. Nuclear energy is highly dangerous and the effect is longterm and far-reaching. From Chernobyl to Fukushima, it has been proven yet again how nuclear energy can destroy a city and harm the generations that follow. This exhibition features photo documentation of Fukushima by award-winning Dutch photographer Robert Knoth, and works by local artists Tsang Tak-ping, Kongkee, Blackpaper, Wong Wing-fung and Annabella Li, who use their creativity and imagination to consider the distance between us and a nuclear future.
Re-opening and celebration of nine years
15.01.11— 30.03.12 Gaffer www.gaffer.com.hk
Re-opening and celebrating the start of nine years in Hong Kong with an exhibition of new works by six Melbourne artists – Simon Strong, Robert Doble, Ruth McCallum-Howell, Terri Brooks, Phil Stokes & Jane Hall. Howell’s large cast glass pieces are inspired by the organic formations found within nature. Brooks’ abstract oil paintings are her explorations and observations of inner-city Melbourne and its weathered patina, flaking paint, rusted metal, marked & graffiti covered red bricked walls that line the cobble stoned lanes ways built in the gold rush days of 1880’s Melbourne CBD. Hall has been dedicated towards learning the old skills & tradition of Asian & Japanese printmaking through extensive travel and by being an artist in residence held in Japan, Italy, Nepal & Thailand. Hall repeats the process and overlapping blocks of ink are pressed leaving shades of built up single colour marking the handmade paper.
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Spiritual Art by Sohan Qadri and Zhang Yu 08.02.12 — 18.0312
Sundaram Tagore www.sundaramtagore.com
Vicken Parsons: Paintings 24.02.12 — 24.03.12
Alan Cristea Gallery www.alancristea.com
Sundaram Tagore Hong Kong brings together two artists noted for their deep spirituality for the first time: Chinese artist Zhang Yu, a pioneer of contemporary experimental ink painting, and Indian artist Sohan Qadri, who critic Donald Kuspit calls “...the pre-eminent aesthetic mystic of modernism.” The exhibition includes works from Zhang’s Fingerprint series and a number of the last works produced by Qadri, who died in early 2011. All works are on paper, the favorite medium of both artists. Zhang and Qadri are deeply influenced by Buddhism, and the very act of painting, for both, is part of a meditation. They both create abstract works that are intensely focused on the creative process and the embodiment of their philosophical and spiritual states of being.
In early 2012, the Alan Cristea Gallery will present the first solo show in London for over 12 years of the British born artist, Vicken Parsons. The show will consist of around 20 new works and will be accompanied by a fully illustrated catalogue with an introduction by leading psychoanalyst and writer Darian Leader. Parsons makes small, intimate paintings of landscapes and architectural spaces which move from figuration to abstraction with quiet ease. Made with thin layers of oil paint on thick plywood panel, the works have a three-dimensional, object-like quality. Often grey or monochrome, the paintings are sometimes hit with a flash of colour, of cornflower blue, bright white or electric yellow which almost seems to fluoresce. At times they retreat into deep dark corners.
In The Frame
Learning to Fly
2008.1.2.3, 77 x 55 x 97 cm, stainless steel and stainless steel with titanium, 2008
Chinese artist Wu Qiong’s Cartoon figures might herald a neW era in the nation’s art. But his fairytale visions express the sentiments of a generation in China that seeks meaning Beyond material suCCess.
Text by Remo Notarianni
In The Frame Learning to Fly
Classic no. 1, 2011, 150 x 110 cm, oil on canvas
u Qiong’s subjects seem buoyantly afloat. The Beijing-born artist depicts childlike figures against stark backgrounds and pastel skies. Their shameless optimism could resemble the grinning cynicism of the Pop Art that propelled contemporary Chinese talent onto the world stage. But unlike the Pop Cynical Realists of the Seventies and Eighties, Wu’s figures appear to lack the “political stress release” of a time when government intervention defined “Pop” in China. Takashi Murakami and Andy Warhol, targeted soulless
consumerism, but it was the ubiquitous hand of Beijing lurking behind the product that concerned the likes of Yue Minjun; the same hand that inflicted suffering on its own people under Mao. Wu, however, was born in the 1980s. He would not remember Mao’s Cultural Revolution at a time when Deng Xiaopeng’s “Open Door” policies created growth so blindingly stellar it could cause political amnesia — especially in the generations that followed. “Many of my figures appear to be defying gravity,” said Wu. “Their
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Classic no. 2, 2011, 150 x 110 cm, oil on canvas
dreamy, death-defying awe relish the new opportunities. My generation can enjoy these compared to previous ones in China. But look closely and you’ll see uncertainty on the faces that is as strong as any of the cynicism.” In the 80s and 90s, Mao’s totalizing gaze still crossed the landscape but factories and billboards unforeseen economic freedoms. And as the only child of parents working in the creative fields of advertising and design, Wu was socialised into art at a young age. After studying Western
Art at Xu Beihong Art Academy, he entered the Teacher’s Training University (Shi Fan Da Xue) to major in Oil Painting. In 2003, he went to Singapore to study at the Nanyang Academy of Fine Arts and developed his style in an overseas environment. It may be difficult to point a finger at the agent of change in China—economic development and liberalisation— but it is too simple to describe Wu’s paintings as celebrations. In fact, his style bears some resemblance to the “cartoon painting” of China’s Guangdong
In The Frame Learning to Fly
Essence of Performing no. 3, 2011, 160 x 130 cm, oil on canvas
In 21st century China, Wu may just be resonating with the cartoon aesthetic of a younger generation absorbed by comic imagery, online gaming and computer worlds.
province in the 1960s, which made a political standpoint against Beijing’s cultural hegemony. In 21st century China, Wu may just be resonating with the cartoon aesthetic of a younger generation absorbed by comic imagery, online gaming and computer worlds. It may seem relatively idyllic but as Wu points out: “the artists born of this generation have been accused of being part of a shallow culture, as though they should apologise for not having been born into the turmoil and chaos that previous generations suffered.” Indeed, no generation is without its hardships. Wu’s cartoon style is more developed in later works, but throughout there is a passionate orthodox realism that speaks above the humour. His paintings between 2003 and 2006, revealed various emotional states of characters. Some were presented in agony such as in
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“The artists born of this generation have been accused of being part of a shallow culture.” – Wu Qiong
Lola & Lulu, 2011, 180 x 130 cm, oil on canvas
Hear Me Out (2008) which is a hysterical self-portrait of Wu sitting on all fours in a dark corner, with a spotlight on his gaping mouth, and with his eyes shut, as his left hand mimics a gun. “I remember playing barefoot, pretending to fly, believing that everything was possible,” said Wu. “Me and my playmates believed we were supermen who could do
anything, but life is not without its frustrations because that is how it is made.” But it is indeed the post-80s generation that is keeping the Chinese miracle alive and in an economic sense they were propelled into the skies by their parents. Wu’s frustrations can be found in any modern society – wanting to change his job as a college teacher and wanting greater fulfilment
In The Frame Learning to Fly
Wu returned to China from Singapore in 2008, after achieving artistic recognition, to find the nation’s commercial might cut into the landscape and the Olympic Games underway.
New Generation 2, 2008, 170 x 140 cm, oil on canvas
with his work. His generation learned to fly, but they have had to come down to earth now that they have grown up. Some of Wu’s images allude to actual fairytales and stories from Chinese literature. In the painting Made in China 2 (2008), the children look like their growth has been stunted by an alternate reality that keeps them in a state of infancy. Their heads are enlarged and their
pants are down. It is almost saying they have been spoiled by the “economic miracle” and the brighter tones represent the clear light of day in adulthood. Wu returned to China from Singapore in 2008 after achieving artistic recognition, to find the nation’s commercial might cut into the landscape and the Olympic Games underway. The Sichuan earthquake came crashing down on his genera-
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It became clear that greatness in itself cannot dispel suffering, which is just part of the human condition.
Made in China 2, 2008, 150 x 120 cm, oil on canvas
tion’s lofty sense of privilege. Had the childhood teddy bears of those who benefited from the new China morphed into Godzillas? It became clear that greatness in itself cannot dispel suffering, which is just part of the human condition. His latest body of work is more preoccupied with the cartoon form, and the subjects seem to bear no autobiographical resemblance. Perhaps Wu has outgrown the age
of fairytales. But even if they have ended, the truths they tell continue to be real. “For those who still claim that the generation of the 80s has nothing to say, think again!” said Wu. “We understand and embrace the world we are growing into.” Wu Qiong is represented by Sunjin Galleries in Singapore. Contact: +65 6738 2317.
Lo n d o n
London has maintained its status as a centre of cuLture. But how wiLL it Be affected By the rise of new art huBs in the worLd?
Text by Rudabah Abbass
Centre of Change
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The Tate Modern
ondon has always prided itself on a number of things – premier cosmopolitan city of the world, creative hub, and centre of European culture. With a thriving banking sector and strengths in the creative industries, all contributing to its prominence, London maintains its place as a desirable location for the wealthy. For most, acquiring property in the British capital is an obvious choice. Geographically it lies in close proximity to the United States and also provides a convenient base with easy access to Europe. And where there is money, there is the considered penchant for investing in art. London currently claims 58 percent of Europe’s art market share and is also the main modern and contemporary fine art capital of the continent. “As an artist, I can’t imagine being anywhere other than London,” said British artist Duggie Fields, who has lived in Earls Court since 1969. “London is the ultimate city. Part of its uniqueness for me is its mix of nature in the abundance of gardens, squares, parks, trees and plants in such close proximity to current cultural institutions, entertainment, architecture and history.” CulTure and Crisis And on a global platform London currently maintains its place as the world’s second largest art market
– valued at £7.7bn.According to a recent study by Euromonitor International, the city has defied the economic downturn by being the most visited destination for tourists in 2011. The Tate Modern, British Museum and the National Gallery continue to hold their place in the list of top 10 most visited art museums in the world. However with the continual threat of economic instability and lack of confidence from credit rating agencies, there is talk that the English capital is beginning to lose its footing. Emerging markets such as China, the Middle East and Hong Kong have been quick to take advantage of this and are already starting to claim their share of the pie. London’s art market is being threatened by competing regions where tax free living and the expat lifestyle has meant people have more money to spend. Where the upper echelons of society would have usually travelled abroad to purchase art, they now turn to the local galleries where a new raw art scene is being born. arT and upheaval Political uprisings in the Middle East have inspired a new legion of artists who have something fresh and new to express in their work. Art dealers and gallerists in London including White Cube have been quick to
Art LAnds Centre of Change
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recognise this business opportunity and have expanded their businesses by opening branches in the Middle East and Asia. One such gallery owner is Anna Hunter who has recently expanded her Belgravia Gallery to Hong Kong. She tells me: “The UK is certainly Europe’s art market leader. The concentration of all the major auction houses, the top European art galleries and museums make it a destination for the art buyer. London is a very attractive city to visit and for buyers of second” But she admits that an estimated 40 percent of her sales are to overseas clients with a rising clientele from Asia. She has also noted that: “The appearance of more Russians and Chinese living in London means that sales are rising to this group.” But what about the Russians and Chinese who do not live in London?
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“The appearance of more Russians and Chinese living in London means that sales are rising to this group.” – Anna Hunter
Their newly strengthened economy means people now have money and are looking to spend. Why travel for your investment when you can find something on your doorstep? neW fronTiers Hong Kong-based British artist Simon Birch tells me that: “Around 75 percent of my work goes to Western hands, American, British, German and French predominantly. The rest go to Hong Kong or mainland Chinese as well as South East Asia. The Asian buyers are slowly increasing noticeably.” I think the UK has always led the way in music and arts but the world is changing rapidly and old
empires continue to fade as new ones emerge. The art world in particular, is perhaps now more polycentric than the West realises. Cultural scenes are developing at the far reaches of the globe, oblivious to the West.” Industry experts say the recent introduction of the droit de suite tax – enabling artists and their beneficiaries to profit from the resale of works - could also prove to be a deterrent for buyers. Galleries and auction houses objected to the new levy claiming it would put London at a great disadvantage to cities like Hong Kong and New York - where no such tax exists. When I asked Anna how her clients reacted to the news of the tax and if they wanted to secure their acquisitions before the tax was introduced, she told me: “There was no perceptible rush
to buy to avoid the tax!”. While the current market dictates that buyers are unperturbed by the recent changes, it is too soon to predict the long term impact. The argument for London’s position as Europe’s art capital remains untenable, but in the long term it is likely to lose some of its foreign clients. With art markets abroad flourishing, it will certainly have to work harder to stay ahead of the competition. The combined prestige and heritage of the City’s galleries and auction houses will still draw in buyers due to its heritage and reliable reputation. However as long as art collecting remains a preserve of the rich, and the rich keep coming to London, its place as a dominant art hub will remain firmly cemented for the foreseeable future.
national Gallery london
Art in the Heart of Asia
Text: Remo Notarianni and Art HK
Now iN its fifth year, hoNg KoNg iNterNatioNal art fair taKes place betweeN May 17 aNd 20. art hK 12’s outstaNdiNg exhibitor liNe-up will showcase the very best iN coNteMporary art froM the world’s Most iMportaNt galleries.
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RT HK has risen onto the world stage since it began in 2008. This year’s event is sponsored by Deutschebank and the total number of galleries is 264, representing 37 territories. Every year the event grows and the total number of new participating galleries this year is 77. In 2011 the Fair received a record number of visitors, with 63,511 attending, an increase of 38 percent from 2010. The Fair has grown into more than an art extravaganza. It has become internationally recognised for its broad cross-cultural and intellectual exchange. It remains unique as the only world class art fair to have a 50/50 balance of Asian and Western galleries and it is happening in the heart of Asia, making Hong Kong as important as other major art hubs. ART HK 12 will welcome 180 galleries from 30 different territories in the Galleries Section. Leading galleries returning to the venue from across Asia include Long March Space and The Pace Gallery from Beijing; Vitamin Creative
Space from Guangzhou; Ben Brown Fine Arts and Hanart TZ Gallery from Hong Kong; Anna Schwartz Gallery from Melbourne; Nature Morte / Bose Pacia from New Delhi; Kukje Gallery and PKM Gallery from Seoul; Pearl Lam Galleries from Shanghai; Roslyn Oxley9 Gallery from Sydney; Eslite Gallery from Taipei and SCAI THE BATHHOUSE from Tokyo. New additions include de Sarthe Fine Art from Hong Kong, Koyanangi from Japan and three galleries from Mumbai: Gallery Chemould Prescott Road, Galerie Mirchandani + Steinruecke and Volte. The Fair will also host major international galleries, with the return of galleries from across Europe and the USA including the following from London: Sadie Coles HQ, Ste-
Photos: ART HK
Feature art in the Heart of asia
phen Friedman Gallery, Hauser & Wirth, Simon Lee Gallery, Lisson Gallery, Sprüth Magers Berlin London, Timothy Taylor Gallery and White Cube. Other notable galleries include Acquavella Galleries Inc., Marianne Boesky Gallery, Galleria Massimo de Carlo, Leo Castelli Gallery, Cheim & Read, Gagosian Gallery, Gladstone Gallery, Marian Goodman Gallery, Sean Kelly Gallery, L&M Arts, Galerie Emmanuel Perrotin and David Zwirner. Galleries new to the Fair include The Breeder from Athens; carlier | gebauer and Galerie Gebr. Lehmann Dresden from Germany; Galeria Filomena Soares from Lisbon; Annely Juda Fine Art, Maureen Paley and Stuart Shave/Modern Art from London; XL Gallery from Moscow; Marlborough Gallery Inc and Michael Werner from New York; Galerie Nathalie Obadia and Galerie Daniel Templon from Paris; Casa Triângulo from Sao Paulo; Stevenson from South Africa; Galerie Karsten Greve Ag from Switzerland, among many others. ART HK 12 will also include ASIA ONE, a section which opened
in 2011. In this section, 49 galleries from across Asia will exhibit a solo presentation by an artist of Asian origin. ASIA ONE offers an international platform to Asian artists and their galleries and provides a unique opportunity for visitors to gain a comprehensive view of the Asian art scene. In keeping with the Fair’s encouragement of crosscultural exchange, ART HK recently announced the repositioning of ASIA ONE. Divided between level one and level three, ASIA ONE will be integrated further into the Fair, set alongside other prestigious galleries from Asia and the West. ART HK will further its role as a platform for cross-cultural exchange by introducing a new initiative, offering to pair up interested
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This year ART FUTURES will ensure the inclusion of the highest calibre of work.
galleries from the East and West, to share practical knowledge on conducting business as a gallery in their respective territories. This year ART FUTURES will ensure the inclusion of the highest calibre of work. The section will present 35 of the world’s most exciting young galleries, showcasing work by emerging artists from around the globe, and once again in 2012, the ART FUTURES prize will be awarded to one artist featured in the section. While previously ART HK has required that galleries exhibiting in ART FUTURES were no more than five years old, for the 2012 Fair, galleries of up to eight years old and artists under 35 at the time of application are invited to participate. A reduced number of spaces for ART FUTURES at ART HK 12, together with a broader age range of galleries, places a strengthened emphasis on quality. The ART FUTURES Prize 2011 was awarded to Gao Weigang, for his solo presentation at Magician Space, Beijing.
“We are delighted once again to welcome such a high calibre of art from around the world to ART HK 12,” explains Magnus Renfrew, Fair Director, ART HK. “It’s extremely exciting to see the Fair progress with the support of Deutsche Bank and it’s hugely promising that in its fifth year it continues to attract new participating galleries. ASIA ONE, which debuted at last year’s Fair, was very well-received, and we are pleased to be integrating this section further into the heart of the Fair in 2012. This section will showcase the exciting developments currently taking place in Asian art, alongside the most prestigious galleries from Asia and around the world. We hope to encourage as much collaboration and cross-cultural exchange as possible, making ART HK 12 a platform for developing the audience and market for contemporary art in Asia and providing a global audience an opportunity to discover and learn about contemporary art from the region.”
Toussaint (wood, 2008, 43x55x44cm)
Where the Blood flows
Text: Remo Notarianni and Manuel Müller
SwiSS artiSt Manuel Müller carveS viSually poetic SculptureS in wood and glaSS. HiS tHeMeS Straddle tHe priMitive, tHe Modern, life, deatH, Sex and rebirtH. SHaped by perSonal reflectionS, and tHe claSSic collectionS tHat influenced HiM, Müller’S unique oeuvre croSSeS cultureS.
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ome of my favourite pieces in my collection are mask of a warthog from New Zealand made of early 20th century, painted wood; Some archaic Mesopotamian fertility idols; some African Nok terracotta sculptures; a little goddess from India; and a painting by Alex Costa, a Greek-American artist whose works are in the collection of the “Musée de l’art brut” in Lausanne. But it is difficult to
describe these objects, other than with adjectives like “strong” or “unique”. In Switzerland or France, or Western Europe or the United States, the art scene looks very intellectual to me. It tends to question Art History over and over again, so it doesn’t interest me very much anymore. I don’t see where my work fits in. There is certainly no “box” I can see it being kept in.
Moi et Moi (wood, 2008, 43x55x44cm)
Glimpse Where the Blood flows
I have drawn since I was a child. After being fired from high school at the age of 16, in the outskirts of Paris where I lived, my father allowed me to go to Carrara, Italy, where I learned to work on marble in a marvellous studio with sculptors from all over the world. It was there that I learned the Italian
proverb: “da dove esce il sangue entra il mestiere” (From where the blood flows, begins the skill). Then, back in Paris, following the advice of the assistant of sculptor Augustin Cardenas, I started to discover wood, an ideal material for polychromatic sculpture. In 1982 I moved to Switzerland.
Bactriane (painted bronze, 2007, 29x30x26cm)
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Fiore (wood, 2008, 40x35x30cm)
My father was a famous sculptor, Robert Müller, and my mother was a painter and a jeweller. Their friends were artists living in Paris in the 1950s. Among them was Chinese artist Zao Wou-ki, who became my godfather. They were also collectors, of “ethnic” art, ancient art from all over the world, European sculptures from the Middle Ages, and 15th century woodcuts. So I kind of grew up in a museum, and these influences must have left a deep impression on my infant mind. The only possible cubist link to my work could be explained by the fact that cubist artists themselves were influenced by African and Oceanic sculpture.
Glimpse Where the Blood flows
Figurative sculpture became less significant in Western Europe in the Seventies. Most galleries consider sculpture to be an art of the past. Creative craftsmanship between hand and brain appears to be despised these days, and the “idea” counts most; that explains the success of artists like Jeff Koons. There are no real teachers of sculpture in art schools anymore, only teachers of installation and video. When I want to converse with sculptors, I prefer to do so in my imagination with the creators of masterpieces of, for example, African art, among others.
Mandragore (painted wood, 2011, 60x30x25cm, also in bronze)
I have been going to my studio every morning for 40 years, doing one sculpture after another, to avoid the black hole of “inspiration failure”. My preoccupations are eternal and ordinary: life, sex, death, and solitude. And you have to know that my work is “classified” by the local art specialists as being in the “outsider” category. My technique is also very traditional, and I work wood with gouges, chisels and knives. I also work with glass, and draw on paper.
In Fondo ai boschi (wood, also exists in bronze, 2007, 100x45x30cm)
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Ophelie’ (painted wood, 2011, 55x32x16cm, also in bronze)
From what I see in European galleries, Asian art has a global appeal these days. I would now like to discover the Asian art scene in Asia, certain to find strong personalities there. Asian has strongly influenced my work, of course Hokusai, and treasures of the past, that I discover at the “Musée Guimet” in Paris for instance. And, last but not least, the beauty of the Asian female face.
Photos: Manuel Müller
Beauty in the Remaking
Verschoor’s porcelain moon cakes in a disused wheelbarrow
Urban JUngle is the title of the second solo exhibition of singapore-based dUtch artist gonneke Verschoor. it explores the rebirth of obJects throUgh artistic reVitalisation that UncoVers their beaUty within.
Text: Daniela Beltrani
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A mattress frame in symbiosis with Verschoor’s Urban Flowers
ast year Gonneke Verschoor was granted a two-month residency in 2012 by the Sculpture Square’s Artist-in-Residence Programme, which has finally culminated in the Urban Jungle exhibition, scheduled to run from 10th to 26th March 2012 at the Gallery Block, Sculpture Square. Verschoor became a full-time artist in Holland back in 2000, when she started dedicating herself wholeheartedly to working with clay and the discarded metallic objects that she had chanced upon. These included bottle tops, nails, door cabinets, mattress frames, and store displays. The more deteriorated the object seemed, the greater its sense of abandonment, and the more the object appealed to Verschoor in its continuous renewal of rejection. In her revitalisation of the object, Verschoor wishes to breathe new life into it and to proclaim its beauty, beyond its previous utilitarian role. Her endeavour is a poetic confirmation of a scientific finding which was
pronounced so eloquently by the French scientist Antoine-Laurent de Lavoisier in the 18th century: “Rien ne se perde, rien ne se crée, tout se tranforme,” “Nothing is destroyed, nothing is created, everything is transformed.” Verschoor’s creativity therefore unleashes itself in a paradoxical synthesis of two, essentially opposite, types of material: one readymade for the purpose of being manipulated and brought to life (clay) and the other destined to forgetfulness and death. Transformation here is the key to the new life that Verschoor’s creativity brings to both materials. On one side, moulding clay by hand allows her to explore the material in what she describes as “unexpected ways,” by responding to it in terms of techniques and shapes; and on the other, the imagination the metallic object offered would allow her to extrapolate and uncover its beauty from within. The two processes may be separated in the sense that there
Frontiers Beauty in the remaking
Verschoor wheels her porcelain moon cakes in a disused wheelbarrow
are significant gaps of time between Verschoor working with the clay and collecting metallic objects. Yet her artistic sensibility and the individuality that both types of objects display combine to allow Verschoor to create the final works of art she is showing at the exhibition: a rusty mattress frame recovered just outside her Singapore home as an imaginary hedge for her porcelain “Urban Flowers;” a disused wheelbarrow containing porcelain moon cakes from her collection of moon cake moulds; a metal construction thread holding china plates in a diabolo style suspended from the ceiling; cards displayed and presented as a chandelier of china bar codes. In her original proposal to Sculpture Square, Verschoor emphasized what has been her prime concern since becoming a full-time artist and adapted it to the new environment Singapore had disclosed to her in the last four years.
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The Peranakan and Chinese motifs of the peony, the phoenix, and the Chinese double happiness character, together with the urban landscape of Singapore, seem to inform much of her paintings on the hundreds of china plates she had bought from a ‘china graveyard’ near her studio in Jalan Bahar, at a place called The Pottery Jungle. Verschoor is sympathetic to both household and construction materials, as they both serve their purpose in the building of a home. The mattress frame has as much of a past as the plates: both being so close to the story of a family, the sharing of imaginary intimate and convivial times. Verschoor transforms both types of material and renders them beautiful once again, encouraging members of the audience to see the same beauty, not only in the works she is presenting at the exhibition but also in the world around them.
Two china plates held together by a construction thread
Photos: Daniela Beltrani
Nighthawks (1942) Edward Hopper
Moonlight (2012) Jack Massey
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Ghosts of the Lost Garden
Text: Remo Notarianni
Fog City Diner (2011) Jack Massey
Lotte (2012) Jack Massey
andscape paintings have a special place in the modern world— rectangles of nature that bring a two dimensional slice of “Eden” into homes. At once decorative and critically appreciated, landscape art, like the garden, has connected rural with modern. The work of Hokusai, Kuo Hsi or Friedrich enables us to appreciate a world we have supposedly won over, without actually experiencing its harsh realities. But this landscape has been in constant flux. At the turn of the twentieth century, artists became preoccupied with petrol stations, restaurants and urbanisation that made the cityscape as significant as the landscape, and these early images have become new muses for nostalgia. American artist Jack Massey’s paintings document late 20th and early 21st century life. Many seem to portray American archetypes that are already timelessly set in
PersPectives Ghosts of the Lost Garden
consciousness — the tough guy, the bar girl, and “the honcho” but Massey’s work oddly recalls a rural tranquility with its stillness. He captures it in ordinary, rarely photographed moments in places that have turned into the “third home” hangouts of city life. “The stillness pervades the human figures and it somehow spiritually bonds them with the architecture, which is calm and reflective,” said the San Francisco-based Massey, a fine artist who refined his craft as a tattooist and combines traditional work with digital. “But there’s a palpable energy in the settings that makes them as unique as the people and it is being lost in the proliferation of fast food and coffee chains.” Edward Hopper (1882- 1967) is credited with creating exemplary depictions of 20th century urban America. In his often sombre portrayals, subjects seem isolated by their familiar settings, and many saw his reflections to be part of a prevailing climate of criticism about modern life. It was for this reason that Hopper was considered part of the antiurbanism movement that included Ralph Waldo Emerson, Edgar Allen Poe and Frank Lloyd Wright. It hankered for rural values that nurtured the human spirit but that had been sinking in the darkness of city life. Artists such as Hopper set the stage for the “Sin Cities” of American literature and film that followed. In his work, the city had become a place of despair, where so-called paragons of civilisation had morally failed. The stillness of Hopper’s sub38 TPAG | Mar 2012
jects is strangely haunting. Perhaps an inspiration for “film noir”, the images carry a storyline –or the abandonment of characters in need of one. Hopper’s seminal work Nighthawks (1942) conveys this anti-urbanism with public figures that seem downtrodden, lost and alienated by the familiar city they have found success in. “I’ve always been interested in approaching a big city by train,” Hopper once said, “and I can’t exactly describe the sensations. But they’re entirely human and perhaps have nothing to do with aesthetics. There is a certain fear and anxiety, and a great visual interest in the things that one sees coming into the city.” But “the diners”, cobbled streets, classic brownstones, railroads and art déco facias have yielded to a new modernity and it is starting to give Hopper’s world an endearing place in heritage. Many of the buildings that appeared in America’s early cities are now the obsession of conservationists. Perhaps the grim subjects of Hopper’s time were closer to the garden of landscape art than they thought. “There may come a time when the identity of cities dissolves into the same desperate anomie of its people,” said Massey. “If the sense of place that a city provides is lost, then its inhabitants will lose hope with it.” For more information on Jack Massey’s work, contact admin@ yinogo.com
El Trebol (2011) Jack Massey
Baja (2011) Jack Massey
Image credits: Jack Massey
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From Architect’s Vision to ‘Vertical Slum’
By Gladys Teoh. Photography by Philipp Aldrup
uring a snowy Christmas in Tokyo, I chanced upon the world’s first exhibition on the Metabolist Movement at the Mori Art Museum. Metabolism was one of the most important architectural, artistic and philosophical movements of the twentieth century and it redefined architecture as “how people use and interact with the space around them”. Using both utopian and humanist concepts of urban living, the Metabolists were, in part, a response to rapidly exploding population in Japan in the late twentieth century. City plans were based on “megastructures” that were expandable and mobile; they consisted of smaller, detachable sections within a larger, more permanent structure. But with the exception of the iconic Nakagin Tower by Kisho Kurokawa, which surfaced as the first “interchangeable capsule” building in the world, Metabolist architecture hardly materialised at all in Japan. The movement morphed into companies concerned with mass housing and prefabricated steel and concrete systems. Outside Japan, however, its influence spread as far as Hawaii, the USA, Peru, and Macedonia. In Singapore, the movement spawned a group of architects who produced wonderful collections of buildings in the 1970s such as the
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Once hailed as an exemplary Metabolist “megastructure” the Golden Mile Complex is a shadow of its former glory.
People’s Park Complex, the Golden Mile Complex, and Pearl Bank Apartments. These buildings were architectural trailblazers in their own right, but are faced with the threat of demolition. Some have already been bulldozed to make way for more profitable developments. ShADowS of A GolDen AGe The Golden Mile Complex was designed by William Lim, Gan Eng Oon and Tay Kheng Soon of Design Partnership (now known as DP Architects) and completed in 1973. Envisioned as a mixed development high-rise, the 16-storey building was one of the first in the region to integrate over 410 shops, 68 residential units and 226 offices into one building. The stepped-back terrace design enhanced natural ventilation and reduced noise from surrounding areas and the planning focus was on housing horizontal communities vertically. Once hailed as an exemplary Metabolist “megastruc-
ture” the Golden Mile Complex is a shadow of its former glory. Over the years, fires and violent incidents have ruined the image of the Golden Mile. Younger generations, unappreciative of the architectural discourse of the building call it an “eyesore”. Nominated Member of Parliament Ivan Png called it a “vertical slum”, critical of the way some residents put up zinc sheets and patched boards over their balconies. Many locals have bemoaned the opening of Thai discos in the complex and others have opined that the toilets were among the dirtiest in the island state. Property owners of the Beach Road icon which now appears decrepit and rundown are eager for its demolition, having failed twice to get a collective agreement to sell the property which is sitting on prime real estate. The New Paper ran an article headlined “Man caught in gloryhole sex act” in June 2010, about a 30-yearold man who was caught engaging in a sex act with another man in a toilet cubicle on the second level of the complex. RAiSinG The ‘TABulA RASA’ Singapore has not one, but several of these iconic buildings. Yet these are largely unappreciated and are
These buildings were built according to ideals of pursuing dynamic growth, but are under pressure on the pretext of pursuing exactly that.
victims of material en-bloc sale attempts. These buildings were built according to ideals of pursuing dynamic growth, yet are now pressured to be taken down on the pretext of pursing exactly that. Is this irony at its best or are we really inept at balancing history with economic progress? I was subsequently relieved to read that enough Singaporeans, when polled by the Straits Times, wished to see the conservation of Golden Mile Complex. However, is this enough to block fierce sale attempts of the site, given the way that property prices are at a sustained high in a land-scarce country? Are these select voices enough to compel the authorities to warrant a conservation status on the building? After all, Singapore was propelled onto the stage of international architectural discourse with Rem Koolhaas’s provocative essay “Singapore Songlines: Portrait of a Potemkin Metropolis…or Thirty
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Years of Tabula Rasa”, published in 1995. The essay was a scathing critique of Singapore’s brutal approach towards urban renewal. post-1965, in which entire “villages” had been ruthlessly eradicated in the name of economic survival, to be replaced by a soulless, manufactured skyline that was dominated by an endless landscape of identical concrete housing blocks. In its determination to rebuild the city in the shortest time possible from a sleepy backwater island into a world-class city, the nation was literally uprooted, and its residents herded into concrete boxed flat units. ComPReSSion AnD ConSumeRS The dystopic reality of a “Potemkin metropolis” where the city appears elaborate and impressive but lacks real substance seems to hold true for Singapore, as it did many years ago. I spoke to Philipp Aldrup, a photographer based in Singapore,
on his views. Philipp’s work contemplates the co-existence of old and new, and explores how cityscapes change their meanings and functions as ways of life are altered by modern imperatives. “Singapore, in my opinion, is largely following a very different concept of growth – a growth of economics,” he observes. “Less and less spaces are left undesigned or rather open for residents to alter, extend, and change. One is faced with completed developments that don’t allow further experiments of use. One is reduced to being a consumer, be it for living, working, entertainment.” Some hold the perception that Singapore really is a metabolised city with multiple “city centres” in different neighbourhoods, and with
everything linked together by elevated train systems and highways. Megastructures such as shopping malls have different services in one building, from offices to retail and food to indoor sports venues. Aldrup disagreed: “I think that Singapore, at least for many of the new developments, doesn’t really embody the ideals of metabolism. On the surface, of course every city flows like streams and currents. But if growth means aggressively erasing history on one side and creating new generic, non-local, non-culturally connected architecture on the other, then the city is slowly losing its function as a home for people. I think that’s happening at the moment, not only in Singapore of course, but here it is so apparent and compressed.”
Photos: www.philipp-aldrup.com or www.behance.net/uebersee
PICASSO & THE SCHOOL OF PARIS
Drawings, Lithographs, Etchings & Photographs of Artists
Pablo Picasso (1881 - 1972) photograph by Brassai (Gyula Halasz).
Brassai holding his camera, s.7610 (Gyula Halasz), 1899 - 1984.
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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 or fax: +65 6336 9975 email: email@example.com | website: ww.art-trove.com
52 Singapore Galleries 53 Art Auctioneers 54 Museums / Art Services 54 Conservation/ Restoration 54/55 Art Schools / Artist Studios 56 Hong Kong Galleries 56 Other International Galleries 56 Art Fairs 58 TPAG Art Tours HK 60 TPAG Classifieds
Art Trove 51 Waterloo Street, #0201, Singapore 187969 v +65 6336 0915 Y firstname.lastname@example.org www.art-trove.com Wed - Sun: 11am-6.30pm ARTXCHANGE Gallery 6 Eu Tong Sen Street, #02-65, The Central, Singapore 059817 v +65 9027 3997 Y benny. email@example.com www.artxchangegallery.com Mon - Sat: 11am-9pm Boon’s Pottery 91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918 v +65 6836 3978 www.boonspottery.com Daily: 11am-6pm. Closed on Public Holidays
Bruno Gallery 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 Cape of Good Hope Art Gallery 140 Hill Street, #01-06, MICA Building, Singapore 179369 v +65 6733 3822 Y capeofgood hope@pacific. net.sg www.capeofgoodhope.com.sg Daily: 11am-7pm
Forest Rain Gallery 261 Waterloo Street, #02-43/44, Singapore 180261 v +65 6336 0926 Y email@example.com www.forestraingallery.com Tue - Fri: 11am-7pm; Sat - Sun: 11am-5pm. The Gallery of Gnani Arts #01-17, Tanglin Shopping Centre, 19 Tanglin Road Singapore 247909 v +65 6735 3550 Y arts@ gnaniarts.com www.gnaniarts.com Mon - Sat: 10am-7pm; Sun: 10am-6pm.
Chan Hampe Galleries @ Raffles Hotel 328 North Bridge Road, #01-04, Raffles Hotel Arcade, Singapore 188719 v +65 6338 1962 www.chanhampegalleries.com Daily: 11am-7pm. Closed on Public Holidays Chan Hampe Galleries @ Tanjong Pagar 27 Kreta Ayer Road, Singapore 088994 v +65 6222 1667 www.chanhampegalleries.com Weekdays: 10am-6pm. Weekends: 11am-4pm. Closed Wednesday and Public Holidays
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 Ken Crystals 6 Eu Tong Sen Street, #03-72, The Central, Singapore 059817 v +65 6339 0008 Y email@example.com Mon - Sat: 11am-7pm; Sun: 1pm-5pm.
52 TPAG | Mar 2012
Muse The Art Gallery 4 Toh Tuck Links, Unit 01 – 01 Singapore 596226 v +65 6762 6617 Y enquiries@ musetheartgallery.com Mon - Fri: 8.30am-5.30pm OVAS Art Gallery 9 Penang Road, #02-21 Park Mall, Singapore 238459 v +65 6337 3932 www.ovas-home. com Daily: 11.30am8.30pm Richard Koh Fine Art 71 Duxton Road, Singapore 089530 v +65 6221 1209 Y firstname.lastname@example.org www.rkfineart. com Tues - Fri: 11.30am-7pm, Sat: 12noon 6pm Mon by appointment only. Closed on Public Holidays
ZiJuan Art Gallery 19 Tanglin Road, #02–07 Tanglin Shopping Centre, Singapore 247909 v +65 6733 0289 HP: +65 8160 0058 Y zijuanart@ hotmail.com www.zijuanyy. com Mon - Sat: 11am-6.30pm Closed on Sunday Sunjin Galleries Holland Village: 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 Shenton Way: 2 Mistri Road, #01-02, Lumiere, Singapore 079624 v +65 6738 2317 Y email@example.com www.sunjingalleries.com.sg Tue - Fri: 11am-7pm; Sat: 11am-6pm 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”.
Utterly Art 229A South Bridge Road, Singapore 058778 v +65 6226 2605 Y utterlyart@ pacific.net.sg Mon - Sat: 11.30am-8pm; Sun: 12noon-5.30pm Yisulang Art Gallery 6 Handy Road, #01-01, The Luxe, Singapore 229234 v +65 6337 6810 Y mktg@ yisulang.com http://yisulang.com Tue - Sun: 11am-7pm
Christie’s Hong Kong Limited 22/F, Alexandra House, 18 Chater Road, Central, Hong Kong Sotheby’s Singapore Pte Ltd 1 Cuscaden Road Regent Hotel Singapore, Singapore 249715 Larasati 30 Bideford Road #03-02, Thong Sia Building, Singapore 229922
Galerie Sogan & Art 33B Mosque Street, Singapore 059511 v +65 6225 7686 Y firstname.lastname@example.org www.soganart.com Mon - Sat: 12noon-7.30pm; Sun: 2pm-5pm
art directories Museums
The Luxe Art Museum 6 Handy Road, #02-01, The Luxe, Singapore 229234 v +65 6338 2234 Y enquiry@ thelam.sg www.thelam.sg Tues - Sun: 11am-7pm Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street National University of Singapore Museum (NUS) University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279.
Conservation / Restoration
PIA Preserve in Aesthetics 63 HillView Avenue, #02-06B, Lam Soon Industrial Building, Singapore 669569 v +65 6760 2602 / +65 9118 7478 Y josephine@ thepiastudio.com www.thepiastudio.com Specialised in Paper & Book Conservation. Art Preservation, Conservation and Restoration.
Florenz 10 Changi South Street 1, Singapore 486788 v (65) 65464133 Y email@example.com www.florenz.com.sg Mon-Thur 8.30am-5.45pm, Fri 8.30am-5.30pm, Sat 8.30am-12.30pm Closed on Sundays Introduction of Company: Florenz was first established in 1986 and was recently re-launched with a showcase exhibition featuring artworks by the current in house team and also past collaborators. Florenz specialises in glass art of all disciplines and processes ranging from traditional stained glass, blown work, kiln forming, sandcarving and engraving. Artworks may be purchased or commissioned for commercial and private settings. Florenz is also an active participant in the Singapore art scene, participating in events such as Art Singapore, Affordable Arts and FLasia.
LASALLE 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St The Singapore Tyler Print Institute 41 Robertson Quay
54 TPAG | Mar 2012
m’a ARTS v +65 8611 5280 Y alfred@ maarts.com.sg Transportation & Installation of Art Works and other Art related services. Ray’s Transport & Services v +65 9152 2511 Y artswithray@ gmail.com Artwork Installation & Delivery Services. Santa Fe Art Solutions v +65 6398 8518 M: 9758 8294 Y artsolutions@ santafe.com.sg Specialized services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.
Chieu Sheuy Fook Studio Studio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985 v +65 9669 0589 Y firstname.lastname@example.org Koeh Sia Yong 许锡勇 10 Kampong Eunos, Singapore 417774 v +65 9671 2940 Y koehsy@ singnet.com.sg www.yessy.com/ koehsiayong www.koehsiayong.artfederations. com Leo Hee Tong 梁其栋 Blk173 Bishan St 13 #05-105 Singapore 570173 v +65-62588787 / +65 97946511 Y leoheetong@ hotmail.com Studio 404, 91 Lorong J Telok Kurau Road Singapore 425985 Liu Xuanqi Art Studio 刘轩齐 Goodman Arts Centre, 90 Goodman Road, Block B #0408, Singapore 439053 v +65 9168 7785 Y hillad2006@ gmail.com Opens daily 9am-6pm
Urich Lau Wai-Yuen Goodman Arts Centre 90 Goodman Road, Block B #04-07, Singapore 439053 v +65 9682 7214 Y email@example.com By appointment only Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B, #03-14, Singapore 439053 v +65 9151 3227 Y firstname.lastname@example.org By appointment only.
art directories Hong Kong Galleries
Puerta Roja Private Latin Art Space Shop A,. G/F Wai Yue Building, 15 – 17 New Street, Sheung Wan, Hong Kong v +852 2803 0332 Y email@example.com www.puerta-roja.com By appointment Belgravia Gallery 12/F Silver Fortune Plaza, 1 Wellington Street, Central, Hong Kong Karin Weber Gallery G/F, 20 Aberdeen Street Central, Hong Kong (Close to Hollywood Road) Koru Contemporary Art Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong
Flo Peters Gallery Chilehaus C, Pumpen 8, 20095 Hamburg, Germany v +49 40 3037 4686 Y firstname.lastname@example.org www.flopetersgallery.com GALERIE CHRISTIAN LETHERT Antwerpener Strasse 4 D - 50672 Köln (Cologne) Germany Alan Cristea Gallery 31 & 34 Cork Street, London W1S 3NU White Cube 48 Hoxton Square, London N1 6PB L & M Arts 45 East 78 Street New York 10075
Art Dubai 21 – 24 March 2012 www.artdubai.ae Art Revolution Taipei 22 – 25 March 2012 www.arts.org.tw China International Gallery Exposition (CIGE) April 2012 www.cige-bj.com Hong Kong International Art Fair (ART HK) 17 – 20 May 2012 www.hongkongartfair.com Spoon Art Fair HK12 18 – 20 May 2012 www.spoonartfair.com Asia Top Gallery Hotel Art Fair (AHAF SEOUL) 24 – 26 August 2012 www.hotelartfair.kr
Get listed with TPAG. Email us for sales form at email@example.com
56 TPAG | Mar 2012
TPAG Art Tours: Hong Kong
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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.
58 TPAG | Mar 2012
Hong Kong Cultural Centre 香港艺术中心 10 Salisbury Road, Tsim Sha Tsui, KLN 九龙尖沙咀梳士巴利道10号 www.icsd.gov.hk/CE/CulturalService/HKCC v 852-27342009 Hong Kong Arts Centre 香港藝術中心2 Harbour Road, Wan Chai, HK 香港湾仔港湾道2号 www.hkac.org.hk v 852-25820200 Fringe Club 艺穗会 2 Lower Albert Road, central, HK 香港中环下亚厘毕道2号 www.hkfringeclub.com v 852-25217251 Flagstaff House Museum of Tea Ware 茶具文物馆 10 Cotton Tree Drive, Central, HK 香港中区红棉路10号 www.lcsd.gov.hk/CE/Museum/ v 852-28690690 Swire Island East 太古港岛东艺游 18 Westlands Road, Island East, Hong Kong 香港港岛东华兰路18 号港岛东 www.swireproperties.com v 852- 28445095
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Simone Boon’s Studio Unit17, 9/F, block B, Wah Luen Industrial Centre, 15-21 Wong Chuk Yeung Street, Fotan, NT. 新界火炭黄竹洋街15-21 号华联工 业中心B座9楼17室 www.simoneboon.com Y firstname.lastname@example.org v 852-60120363
Puerta Roja Shop A, G/F Wai Yue Building, 15-17 New Street, Sheung Wan, Hong Kong 上環新街15-17 號偉裕樓地下A號鋪 Y email@example.com www.puera-roja.com v (852) 9729 1773
Blue City by A. Eugene Kohn, 30.5 x 23 cm
Belgravia Gallery, Hong Kong 19th Floor, Silver Fortune Plaza 1 Wellington Street, Central 中环威灵顿街1号荊威广场19楼 www.belgraviagallery.com Y firstname.lastname@example.org v 852 -9222 7315 Viewings by appointment only. 請預約參觀 Hong Kong Heritage Museum 香港文化博物館 1 Man Lam Road, Shatin, NT 新界沙田文林路1号 www.heritagemuseum.gov.hk v 852-21808188 Hong Kong Museum of Art 香港艺术馆10 Salisbury Road, Tsim Sha Tsui, KLN 九龙尖沙 咀梳士巴利道10号 www.hk.art. museum v 852-27210116
Jockey Club Creative Arts Centre 赛马会创意艺术中心 30 Pak Tin Street, Shek Kip Mei, KLN, HK 九龙石硤尾白田街30号 www.hku.edu.hk/jccac v 852-23531311
Gaffer Ltd 6-8 17th floor Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong 香港仔田灣海旁道7號興偉中心 17樓6-8號 www.gaffer.com.hk • email@example.com v (852) 2521 1770
Please join us and email to firstname.lastname@example.org to sign up the Hong Kong Art Tours.
Artwork • Exhibition space • Art lessons • Art materials
This space is for sale
This space is for sale
This space is for sale
This space is for sale
This space is for sale
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: email@example.com.
60 TPAG | Mar 2012