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SUBJECT SHALL REMAIN ANONYMOUS 4 April to 28 April 2012 ANG Sookoon Ahmad Zakii ANWAR Béa CAMACHO HOANG DUONG Cam Mella JAARSMA Adam LEE Vincent LEOW Maya MUÑOZ Donna ONG Nipan ORANNIWESNA Jeremy SHARMA and Doris DUKE curated by Jason WEE catalogfinal3003.indd 2-3 3/31/2012 8:40:25 AM .

Distinctions between one public and another – and between one individual voice and the next . Here is the subject conscripted to nationalism. essay by Jason WEE The Remains of Anonymity. that when faced with this force the subject as glimpsed in the exhibition could take on that anonymity toward altogether different ends. Mirroring is crucial to how we identify ourselves to ourselves.19 20 .17 18 . Adam Lee’s figures emerge from a similar zone between the not-yet. in the middle of the screen. T X X X The gallerist Tolla Sloane showed me a painting by Doris Duke.and the not-quite-human. ourselves. anonymity as an effect of actions taken against a subject by one invested with greater authority or power. The processes behind these changes operate at a molecular scale that we can justifiably call secretive. D . or a version of the hipster woodsmen. yet we can distinguish individuality by what holds steady between the two frames . essay by Adele TAN Doris DUKE ANG Sookoon Ahmad Zakii ANWAR Béa CAMACHO HOANG DUONG Cam Mella JAARSMA Adam LEE Vincent LEOW Maya MUÑOZ Donna ONG Nipan ORANNIWESNA Jeremy SHARMA 2-4 4-5 6-7 8-9 10 . frequently uneasy separation between humans and their natural environments. Hoang Duong Cam’s photograph is a kind of self-portrait.are softened into the ambivalent anonymity of agreement. and his own. we could not find her likeness elsewhere. emergence and complexity. he creates bumps on the paper surface that suggest Braille. but will make little sense to Braille readers. The individuals move to unknown choreography that is provided out-of-sight and yet . which infuses the bread and slowly hardens it.25 26 . appears as we shift between two quick slices of time.3 Subject Shall Remain Anonymous by Jason Wee This exhibition started with a mystery. Bea Camacho’s figures are parallel anonymous activators of language. The undecipherable hiddenness that anonymity provides can also mark any newly emerging identities as differentiated and distinctly real. T . to have proper names. The agent of change. Ang soaks bread loaves into saturated solutions of monoammonium phosphate. sometimes in a stubbly murmur.21 22 .15 16 . all bearded and disguised in the trappings of environmental consciousness? Ang Sookoon’s sculptures pulls organic and inorganic material into biochemical interactions that similarly upend our recognition of growth and other living processes. and therefore not quite within reach of any attempts to normalize it. their movements creating glyph-like shapes that. another the next. which included Georgette Chen among others. yet the pinholes in the bumps continually challenge their legibility. This is anonymity as something done to the subject. in transmission. It is a city where the bureaucratese ‘audience development’ and ‘public education’ take on ambivalent shades. When the anonymity maintains the trace of individuality rather than erase it. That separation is always a negotiated terrain. T . The video is mirrored in such a way that suggests that the choreographer or set of instructions might be dead center. acts that take what is most recognizable or objectionable about the subject and diffuse or nullify those parts. undecipherable core. and to educate the public on the conditions of their agreement. Snapshots. especially not in a city like ours. how we are a sum of parts. Arguably what we see in this accreted portrait is some ways more closely resembles Cam than a straight shot of his face before a camera.this is the work’s most intriguing point . an uncanny preservation of the potential to grow. the grasp of our own power to choose and act. a image of himself as a palimpsest of his influences. these figures are transformed from anatomical specimens into difficult bodies. a blend of images of Lenin. What I am suggesting in this exhibition is a counter possibility. these patterns of change do not confirm any recognition of organic life. The bread takes on the appearance of petrified stone as bursts of crystalline forms appear on the surface. both hidden by and alluded to by the doubling. yet I was unwilling to relinquish the sense I had from seeing her face that her anonymity could be more than a condition of an unequal relationship between artist and model. W . that is at the same time a preservation of its potential for greater disfigurement. are these humanoids a branch of arboreal evolution. who was also Tolla’s grandmother. may not be fully in our self-possession.indd 4-5 3/31/2012 8:40:25 AM . The individual. X X X Subject Shall Remain Anonymous. never securely pinned in Adam Lee’s paintings. With our eyes further away. Though we see growth. or ever have been. reworking our conventions of what these might be. can show us that difference within the shortest flashes of time. They bear the possibility of life without life itself. Delicately outlined on paper.not quite offscreen. The individual is a shapeshifting assembly of disjunctive parts. and though we suspected that some of the other artists in that exhibition may have painted the same teenage model. so prominent in Vietnamese socialist discourses. and to identify themselves. Our agency may be more fragile and de-centered than we care to admit.11 12 . to how we realize our composition as well as our self-division. All this on a surface that is minimally visual – plain white paper with tidy rows of bumps and holes. XXXXXX . where the ‘audience’ and the ‘public’ are considered amiably compliant recipients of precast agendas. The Undecipherable It is what is illegible in Nipan Oranniswesna’s pin-pricked lyrics on paper that suggests these texts could be metonymic for the singers of their songs. at least not in what we saw of Chen’s and her contemporaries’ paintings from those years. or when anonymity is a sign that the subject is not completely whole or human. a commercial portraitist who worked in Malaya and died in Singapore in 1967. They are less nature personified with a capital N. Yet the individuality we detect. much less any contestation between the state and these publics. the long straggly hair –as well as what has changed. The audience and the public ‘matter’ only in this regard. but could be an assortment of guises that retain some measure of secrecy in order to individuate the subject and provide the subject with a sense of agency. Maya Muñoz’s paintings suggest. though invisible. any mutual antagonism between public and public is elided.from the choice of jeans. with different co-existing potentials to be one thing one moment. T . The portrait ‘Girl in Pink’ was finished in 1955 for an exhibition for the Women Artists of Malaya group. for one. may be right in front of us. the single voice nearly undecipherable as the en-masse song floats above. sometimes in jagged shrieks.27 28 . We may not. the crystals on close observation seem to belie its extension into a deeper. as though various conglomerations of biomass have not only gained conscious life but have also taken humanoid form. Using pins. The Malay girl in the painting was not named in any of the exhibition documents in Tolla’s possession. Far From Normal XXX Donna Ong’s drawings of fetuses are sketched from a visit to a medical museum where these preserved forms sit as examples of deformity at the early stages of life.13 14 . the confident but relaxed naked torso. resemble a spatial semaphore with significant variability. The eyes are both his and not his. more hybridized swamp things. What sets this version of anonymity apart is its sometimes violent force.29 catalogfinal3003. The aim of education and development is to ensure a wider distribution of ready information. The figure is effaced. our choices evidence of the influence of others. The asymmetries of power that will render a person or subject anonymous are not unique to the artist studio. Working in a grid rather than lines.23 24 . embodiments of the sometimes mythic. barely detectable when our eyes pull further from the crowd. revelatory because they can seem so offhanded and casual. Their suspension in a nascent yet nameless stage of life draws out complex responses from us in part because this suspension catches them between the nominally and normally human. She remained a nameless cipher for the ambitions of others. these bumps coalesce into lines from Thai patriotic songs. humans with the capacity for grafts of chlorophyll-rich cilia.

are as much as part of masculine appearances as they have been feminine ones. The dark strokes remarkably adhere to the posture and of the figure. you would find at least a few that began the sentence with “Eyewitnesses say…” but with none naming who these eyewitnesses are. a marked difference from the traditional media’s stance of names being changed to protect the innocent. until the anonymity is similarly shared. authentic and verifiable. A new creed has ascended. who professes in his poem “Two Loves” of “the love that dare not speak its name”. whether these attributes are ideal or reprehensible. Their presence is palpable but they refuse to allow you.O X X X One’s thoughts should be free but once expressed they must also be reliable. And anonymity ought to be not only an exception. whether the bearers are male. Love here is aligned with the anti-name and the subject and the action of love finds most traction in the space of art. We sometimes witness this slippage in the depictions of religious figures. They grant their bearers safety. its head tilted to show the turn of the neck. It appears that anonymity can only be a temporary insalubrious state of existence and one can never truly derive pleasure from being anonymous. The police are consumed in a case until the victims and perpetrators have their faces and bodies composited and identified. T . yet it shares the same potential for androgynous slippages.can you love the truly anonymous? Imagine being frequently invited to parties but always ending up being ignored because you have no name. X . blacked or blanked out of existence. See where the figure’s legs are delicately crossed. drugs. They are by no means innocent nor wholly anonymous. where all persons in the same locus of communication and action uphold anonymity as a right and privilege. one seems condemned to never be known by any other traits. whose numbers overwhelm our comprehension. without the question “who is this person at all?”. or so goes the usual spiel of the local press. also becomes a way of encoding the various concealments necessary to protect the subject from those relentless watching it. these individuals are anonymous. becoming itself the bearer of identity. its most apposite reply must surely come from the Oscar Wilde’s erstwhile younger companion Lord Alfred Douglas. supplying a suggestive ambiguity to the figure’s sex. the refusal to be pinned down by some given reference or coordinates because they are deemed to be irrelevant to the content of the message. And like the confessions of the alcoholics at the AA meetings. They are racecar drivers. As GK Chesterton once put it in his essay ‘Anonymity and Other Counsels’: W X X Writing anonymously ought to be the exception. Traditional media tend to abjure anonymous writers. a gathering where the guaranteed anonymity levels all status distinctions and the addiction becomes the mark of personality. requiring you to divulge your identity when publishing your writing. This is to prevent the sort of campaign of misinformation that so often happens in the tabloid papers. a man ought always to be ready to say what anonymous article he had written. yet their roles also mark them out as ‘heroes’. Anonymity that alleviates our stigmas makes us all a little braver. social recognition and autonomy. the other in the encounter. the internet and civil society revolutionaries will have some made-up IDs at their disposal but are less bothered by their consistency or any demand to have a name. Crucially. alcohol or even OCDs). and therefore persons who conform in some particular way to these attributes will immediately be touched or tarred. the shape of eyes and lips. but an accidental exception. One remains an element that is unidentifiable within a set of societal norms. and also by the loved ones who become anonymous subjects orbiting in that person’s lifeworld. writing a signed article ought to be the rule. Yet so can the astronaut or the F1 driver. the exhibition of artworks by the unnamed inmates function as a social reparative. making art a form of restorative justice. Yet the movements of the effacing brush. We will soon invent something to avoid this intolerable state. the anonymous referencing the anonymous. in this case a dark and near-total effacement that leaves only the hands untouched. The same generosity seldom extends the other way around. where the sense of mystery provided by androgyny also consecrates that figure with saintly singularity. and emergency workers. These coverings so often accepted as costumed erasures of individuality are in her work invested with animistic force. the outsider art of prisoners who lacked the ability to name themselves and must be shielded by a serial number but have nonetheless demonstrated their raw and rare vision. many of which are filled with anonymous readers and commentators.5 The Remains of Anonymity by Adele Tan Protected Autonomy If so. For online participants from authoritarian countries. this scrubbing away of skin and flesh takes us literally to the bone. oddly mark out facial contours and the outlines of the figure’s dress. like the graffiti artists who create their own tags. B X . yet this same participation is precipitated by the exponential growth of internet communities. especially those of massacres and natural or man-made disasters. Though I never visited. they become small if crucial plot elements of existing narratives that organizes and necessitates their actions. We would rather apply symbolic pseudonyms than be in a permanent position of “anonymia”. whose occupations are also ideological and whose followers just as fanatical. Vincent Leow’s paintings return us to the idea of anonymity as an act done to a subject. consoled by the indispensable spliff and the certitude of one’s flesh and bones. and we habitually fill in the blanks. The lucky ones get remembered en-masse in a commemorative monument such as the Tomb of the Unknown Soldier. one also oscillates between identity and anonymity. yet we consider the individuals inhabiting those roles as singularly capable of the exceptional. It is as though the erasure. We see hairlines. and the trolls who firebomb and fans the flames of discontent. bonding over that which consumes them. gambling. their uniforms and appearances both a sign of how their roles and actions are embedded in familiar masculine narratives. as interested in the real-life anony-mous victims of tragic circumstances. the imprint of a unique personality that might be truly genius. The same masculinity that endows these costumes as symbolic or real protection is also available to other genders. to have any hold on them. while nullifying crucial features and form as its necessary act. X X X X X X X X X X X X X X X Most people will have few misgivings about remaining anonymous if they were the ones actively making the decision to remain unnamed.indd 6-7 3/31/2012 8:40:25 AM . Yet we judge these same anonymous persons by the attributes we receive from the mass media. we encourage greater citizenry participation in society to stem the tide of anomie. I want to call attention to this thread of trouble masculinity in Jeremy Sharma’s paintings from his underappreciated ‘Protection’ exhibition. A generation of pseudonyms. A name (or to name) is taken to be secondary and retrograde. the face and the body turn away from the viewer. rather than aggressively slashing or linear. We are seldom however. But this has not diminished our appetite for anonymity. The lean musculature of Ahmad Zakii Anwar’s latest model suggests the very opposite of costumed anonymity. On one hand. Personalities rise up but do not dominate the scene because the fight is no longer vested in the egos. Words and actions can remain anonymous but humans often cannot . At times the scene will champion the underdog. a proverbial shot in the arm when we need to confront our inner demons. Surely this is how Sarah Palin and Rush Limbaugh manage to only see Osama bin Laden and Ahmadinejad as the only avatars of Islam. the palms softly opened. most still prefer a traceable signature. We act as if we know these far-off celebrities or criminals intimately. That is. X X X X X catalogfinal3003. being “without a name”. I can safely presume that Alcoholics Anonymous is a gathering of strangers who come together to discuss their own afflictions. allowing both the criminal and the citizen to meet at another interstice where relational value and affect can be re-found. astronauts. X X X X Contemporary modes of information dissemination assume a high degree of default anonymity. the freedom afforded by internet anonymity can be a reprieve from reprisal. they will be heard and read but less easily tracked. As one moves between recovery and relapse. boxers. instead. we have been counselled to “hate not the sinner but the sin”. In the visual arts. Instead of unique individuals who make exceptional demands of themselves. unadulterated by the jaded fancies of the art market. After all. and the converse is just as true. we arrive at a ridiculous yet terrifying flayed skeleton. Brought to its logical end. that is. One becomes a mere shadow of oneself. Anonymity at its most political is that of the anti-name. wit. signs and symbols taking the place of proper names. female or otherwise. anonymity provides the screen for a self that wears its ambiguity in repose. just a nobody. to form meaningful partnerships without a constant need to justify to oneself and to the other person. We become discomfited by persons who refuse to identify themselves. In an influential body of work that spans decades. X . And so when I asked earlier whether one can love the truly anonymous. The same distress is conveyed by persons who have lost the ability to recognize faces due to cerebral impairment or dementia. to break the isolated pockets of dogma. In these roles. But we do not read shyness or fear in the dark envelope of Zakii’s drawing. kineticism and sly critique. Yet in daily reportage. the multitude of anonymous posters. whilst maintaining a certain distance as though saying “this is not really me”. The journa-listic habit of counting it something sacred to keep secret the origin of an article is simply part of the conspiracy which seeks to put us who are journalists in the position of a much worse sort of Jesuits or Freemasons. X X X The status and deployment of anonymity becomes much more fraught In the realm of civil society and politics. the heroes we celebrate as extraordinary are particularly troubled by these challenges. so often taken as typically feminine and Islamic. Our technologised daily life can be anonymizing and alienating. O . But it means one peruses the comments of political blogs with difficulty. the same way that audiences are glued to police dramas where officers forensically piece together bits of the unknown dead. Mella Jaarsma’s installations and paintings have shown how veiling and other forms of partial or full body covering. These masculinities are not exclusively the domain of men. defined only by a compulsive drive. as long as one remains addicted (to sex. the constant influx of persons and stimuli are going to slip through our consciousness – empirically there but emotionally unregistered.

BXXXXXXXXXXXXX XXXXXX XXXXXXXXX. Doris Duke was a London based commercial artist during the 1930s. who later became the first Supreme Ruler / King of Malaya – H. In 1955.H Tuanku Abdul Rahman Ibni al-Marhum Tuanku Muhammed. whose Commanding Officer wished to have portraits representing the various Gurkha tribes. Duke was asked to work as a cartographical artist. Her paintings included Gurkha Major Parsuram Gurung MBE.C. Tanah Merah and Woman of Limbun Jat. the official British war artist. Duke took part in the Malaya Federation Arts Exhibition alongside artists such as Chen Wen Hsi.7 Doris DUKE (1910-1967) DXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXX. she travelled to the Sultan's residence in Seremban.M. Her next commission was to paint the Sultan of Negri Sembilan. He inspired her to take up portrait painting. Her first commission in Malaysia was from the Brigade of Ghurkas and in the particular the Gurkha Royal Signals. K. Duke’s works Girl in Pink and Market Kuala Lumper were featured in the exhibition. 50 x 42cm.G. she joined the Women's Auxilliary Air Force. Duke met Eric Kennington (1888 – 1960). Between 1954 and 1967 she was based in Malaysia and Singapore. the first exhibition of works by Women Artists of Malaya was held.indd 8-9 3/31/2012 8:40:27 AM . For this portrait. IXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXX. 1955 catalogfinal3003. XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXX Doris DUKE Girl in pink. Whilst in the WAAF in London. During the war. LXXXXXXXX Later in 1955. Girl in Pink. When war broke out in September 1939. The portrait was completed and hung in the Secretariat at Seremban. oil on canvas. The selection committee included Georgette Chen.

ICA Singapore. She has had three solo shows in Singapore and the USA and her work has featured in group exhibitions at Singapore Art Museum.1977. 2002) and is winner of a number of prestigious awards and residences. XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX X X XXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXX. Osage Gallery. bread. part soft bread and part prickly crystals.9 ANG Sookoon (b. dimensions variable. “For something so much discussed. Beijing Biennale and Goliath Art Space New York. Lives and works in Singapore) TX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX X X X XXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXX The sculptures featured in this exhibition create an oxymoronic object. S XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXX. 2012 catalogfinal3003. New York (BFA. The series is titled Love is Like a Chunk of Gold. the concept of love completely eludes us” – The Singapore Show: Future Proof: Singapore Art Museum. Your love is like a chunk of gold 3. 2012-01-13. monoammonium phosphate. National Art Studio Seoul. XXXXXXXX XXXX XX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXX XXX Sookoon ANG Your love is like a chunk of gold 2. SouthAfrican National Gallery Cape Town. Ang Sookoon graduated RMIT. Australia and the School of Visual Arts. Singapore.indd 10-11 3/31/2012 8:40:27 AM . mirroring the ups and downs of romantic love.

turpentine. there is nowhere to hide.” as told to Lindy Poh in Ahmad Zakii Anwar published by Standard Chartered Bank 2007. But the simplicity is deceptive.. China and Europe at Valentine Willie Fine Art. producing some of the leading advertising graphics of his time before turning to fine art practice. This new commission takes a darker turn. charcoal and gloss medium on paper. AX X catalogfinal3003. the body seemingly shrouded by foreboding. The strength of the medium lies in the intense relationship between black and white and the endless gradations of greys in between… the absence of colour strips away everything illusory. H . Richard Koh Fine Art.1955."On charcoal drawings .11 Ahmad Zakii ANWAR Reclining Figure 13 (detail). MARA Institute of Technology Malaysia. Zakii's new charcoal work continues his fascination with the medium. revealing the form in its most basic and essential nature. 2012 Ahmad Zakii ANWAR (b. He has taken part in residencies at the Singapore Tyler Print Institute and most recently.5 x 222cm. Lives and works in Johor Bahru) X X X . Plum Blossoms and Barbara Greene Fine Art among many others. the US. Andrew Shire Gallery. in Mexico. He began his career as a graphic artist. His work has been exhibited widely in Southeast Asia. X X X X X Ahmad Zakii Anwar is a graduate of the School of Art and Design. It is an intensely honest medium and if you are not good enough. your fingers and the paper. Malaysia.. gel or the endless paraphernalia that goes with painting. 69.indd 12-13 3/31/2012 8:40:28 AM .“No brushes. It is just the charcoal.

1983. 2:25 minute loop. often in relation to family and home. Kyoto ArtCentre. it is a structure in flux. 2012 catalogfinal3003. memory and loss. Manila. It explores the imaginary through abstraction and reconstitution. Her work has been shown in several institutions. Metropolitan Museum of Manila. Hong Kong Cultural Centre. Triennale di Milano Design Museum and the Tate Modern. There is an invisible half. The perceived totality is an active fiction that is reliant on the physical connection between the part revealed and the part concealed. Philippines) C X X This new work is an architecture dependent on the relationship between the known and the unknown. X X X X X X X X X X Bea CAMACHO Contingent Architecture I. video and performance to explore ideas of distance.indd 14-15 3/31/2012 8:40:29 AM .13 Bea CAMACHO (b. Camacho received her BA in visual and environmental studies from Harvard University where she was awarded the Albert Alcalay Prize for outstanding work in studio art and the David McCord Prize for achievement in the arts. Cultural Centre of the Philippines. X X . presenting a condition between the familiar and the unfamiliar. absence. single-channel video. an unseen component occurring at the same time as the component seen in this video. C . H . including the National Museum of the Philippines. Camacho is a visual artist who works with installation.

Jakarta Biennale. " X X X HOANG DUONG Cam Volodya 1886-2011. The process of making the photograph is actually the process of collage fragments. the relations that might existed between one’s inner and outer worlds. he is one of the most active contemporary artists in Vietnam today. His work has been exhibited at the Aichi Triennale Japan. His conceptual works span a range of mediums: painting. installation. X X Hoang Duong graduated as a painter from Hanoi Fine Arts University in 1996. The people I have chosen are carefully considered. sculpture. binding one of my self-portraits with one of V. Singapore Biennale and Museum of Contemporary Art Karlsruhe.I. ifa-Galerie Berlin. Conversely. Singapore Art Museum . because most of the portraits I found of historical figures were worn out. Coreana Museum of Art Seoul. the process of binding fragments of my personal history with theirs gradually becomes the restoration process of a broader history. Zendai Museum of Modern Art Shanghai. 2012 catalogfinal3003. Lenin who had a strong influence on world history as well as the history of Vietnam. 2012. 110 x 120cm. H .1974. Lives and works Ho Chi Minh City) X “Voloda 1886-2011 is a collage photograph.” As told to Tolla Sloane.indd 16-17 3/31/2012 8:40:34 AM . His works are deeply concerned with the human condition. digital print – edition of 5 + 2AP. performance. collected when taking an auto-portrait using macro lens and close-up focus to reconstruct a portrait loosely based on the portraits of people who made an effect on my personal history. drawing. Germany. Vietnam. Guangdong Museum of Art Guangshou. ifa-Galerie Stuttgart. as is the time at which the photograph was taken – a time when they were still young and had not started their careers. video and digital photography.15 HOANG DUONG Cam (b.

17 Mella JAARSMA (b. Clothing can be seen as an instrument to communicate to the surrounding world.indd 18-19 3/31/2012 8:40:35 AM .as told to Jason Wee. Queensland Art Gallery. X X X X X X X . as a second skin. Clothing. Lives and works in Yogyakarta since 1984) J X X X X X . Jaarsma grew up in the Netherlands and studied visual art at Minerva Academy. Groningen. chainmail. has become a major theme. Following that she graduated from the Art Institute of Jakarta and has been based in Yogjakarta since 1984. Gwangju Biennale. 1960. and actually deconstruct identities by producing renewable identities and seeing identity as a transient invention. Chulalongkorn University Bangkok. 2012. She is also co-founder of one of Indonesia’s most influential spaces. 2009 (photography by Mie Cornoedus) catalogfinal3003. H . Netherlands. " X X X X X Mella JAARSMA Talisman. our skin and other layers protects us from invaders” . On the other hand. Cemeti Art House. dimensions variable. Taipei and Katonah Museum New York. Museum of Contemporary Art. I question origins. It is a vehicle for all sorts of messages. Yokohama Triennale. “Through my work. Her work has been presented widely in exhibitions in Indonesia and beyond including the Singapore Art Museum.

Melbourne. X X X X X X X X X X X X Lee graduated with a BFA and MFA from the Royal Melbourne Institute in 2006. the work is really about this relationship or contrast between our resilience and our frailty. Lives and works in Victoria) X X X X X X X X . His works were recently featured at Art Stage Singapore. oil and synthetic polymer paint on canvas.” As told to Dan Rule in Artist Profile. " X X X X X X X X X Adam Lee Wilderbeast .1979. “For me. 66 x 46cm. He has since had a number of solo shows in Australia and won the 2011 RBS Emerging Artist award. Australia.indd 20-21 3/31/2012 8:40:36 AM .19 Adam LEE (b. I think those two characteristics of humanity have been magnified in the last decade or so. 2011 catalogfinal3003.

2009 catalogfinal3003. Jendala Gallery@Esplanade. Leow is the founder of Plastique Kinetic Worms (PKW). GuiYang Biennale and Gwanju Biennale. His practice parallels the development of contemporary art in Singapore. 100 x 80cm. oil on canvas. a leading alternative artist-run space in Singapore. Xin Beijin Gallery.21 Vincent LEOW (b. Leow’s solo shows include Singapore Art Museum. L .indd 22-23 3/31/2012 8:40:37 AM . Singapore. 52nd Venice Biennale Singapore Pavillion. Lives and works in Singapore) X X X X X X X X X X X X X X X X X X Vincent Leow is a pivotal figure in the alternative art scene in Singapore.1961. Lip Gallery Yogjakarta and group shows at Seoul Museum of Art. X X X X X X X X X Vincent LEOW White Portrait. Tadu Art Space Bangkok.

2011 catalogfinal3003. participating in group shows and solo exhibitions around Manila. 153 x 122. T X X X X X X X X X X X Maya MUNOZ Afternoon I. Silicon Valley. Philippines. oil on canvas.1972.5 cm. S . majoring in painting and three-dimensional space design. Lives and works in the Philipines) X X X X X X X X X X X X X X X X X X X X .23 Maya MUÑOZ (b. California. Muñoz graduated from the San Jose University. USA. She has exhibited widely in the Philippines.indd 24-25 3/31/2012 8:40:37 AM .

and was recently chosen as one of the artists in the Venice Architectural Exhibition (2008) under the Singapore Pavilion. Lives and works in Singapore) X The series of works in this exhibition. were drawn at the Medical School Museum in Singapore. Suspending Twilight.indd 26-27 3/31/2012 8:40:38 AM . X Donna ONG Suspending Twilight I-IV. was awarded the People’s Choice award for the President’s Young Talent Exhibition and Competition. her connection with them is deeply personal. Since her graduation from Goldsmiths College. Donna Ong is an installation artist. including the Singapore Undergraduate Scholarship from UCL. This is the first time the works have been shown in Singapore. Tokyo. Singapore. 2006 catalogfinal3003.25 Donna ONG (b. While the foetuses depicted are anonymous. Her first solo show titled “Palace of Dreams” was held at The Arts House. 20 x 30cm framed each. ink on paper. a residency by Arts Initiative Tokyo with an accompanying exhibition at Scai x Scai gallery. she has received much positive critical review for her installations. She has won several awards and prizes.1978. London and University College with a degree in Fine Art as well as in Architecture. In 2009. X X . found objects and original artwork. she was recognised for her artistic achievements and received the Young Artist Award from the Singapore government and that same year. UK. the Shell-NAC scholarship from the Singapore Arts Council and Shell and the Sefton Open Competition in Two-Dimensional Art (2004). Her works have been exhibited both locally and internationally in shows such as the 2nd Moscow Biennale and the inaugural Singapore Biennale 2007. H Her recent activities include an exhibition in Beijing for the Singapore Season in China. formerly known as the Old Parliament. best known for her ambitious narrative environments made from furniture.

2011-2012 catalogfinal3003.indd 28-29 3/31/2012 8:40:39 AM . T . Lives and works in Bangkok) O X X . I In addition to the exhibition Globalization . Eslite Gallery Taipei and Osage Gallery Hong Kong. he has participated in exhibitions at the Bangkok University Gallery. Bangkok University.27 Nipan ORANNIWESNA (b. The works are an extension of Oranniwesna’s work relating to national identity in a globalised world. School of Fine & Applied Art.Please Slow Down at the Thai Pavilion.. hand pierced paper. one of these is that the verse was written in Ayutthaya period of Siam before this ancient capital city collapsed but none ever knew who was the author. H . Busan Biennale. 210 x100 cm (3 sheets : each 70x100 cm). Soka Art Centre Taipei. They use a technique seen in his recent solo exhibitions where he pierces small holes in paper or wood to create Braille-like versions of poems and songs. There are various suspicions concerning the verse. X Oranniwesna graduated with a BFA in Graphic Design from Silpakorn University. 52nd Venice Biennale (2007). Bangkok and received his MFA and Doctoral degree from Tokyo National University of Fine Art & Music. He lives in Bangkok where he is Head of Visual Art Department. Bangkok Art and Culture Centre.1962. Thailand. T X X X Nipan ORANNIWESNA Testimony of Forgetting (detail).. Three new works have been created for this exhibition. The work is based on an ancient Thai prophecy verse "Pleng-yow Prayakorrn Krungsri Ayudthaya (the verse prophesying the future of Krung Sri Ayutthaya)" and is about the king's dreams and predictions related to sixteen bad omens.

oil and acrylic on canvas. Lives and works in Singapore) X X X X X X X . confrontational or quite simply indifferent” – as told to Deepika Shetty in the Straits Times – 12 June 2008. 2008 catalogfinal3003. Astronaut and Racing Driver are from a series “An Anthology of Faces” created in 2008.29 Jeremy SHARMA (b. friendly. Singapore. Sharma studied at the LASALLE-SIA College of the Arts and graduated from the Royal Melbourne Institute of Technology (RMIT) with a BA in Fine Art in 2003 and a MA in Fine Art in 2006.indd 30-31 3/31/2012 8:40:40 AM . 183 x 122 cm.1977. Often one look at the face is enough to form an opinion of a personality type. A X X X X X X X Jeremy Sharma F1 Racer. “A face conveys deep emotions and establishes a person’s identity. X X X X X X X X X X X X X .

oil on canvas [2009] catalogfinal3003.indd 32-33 3/31/2012 8:40:40 AM . By collecting. Portrait and Hand (detail). GiveArt. We are a young. Give Art Space launches on 4 April 2012 with a group exhibition featuring 11 exciting Southeast Asian contemporary artists at Artspace@Helutrans. yet visionary gallery concept. engaging with and supporting contemporary artists we believe collectors new and old are making a good investment. in particular contemporary art and performance in China and Singapore. and coauthor with Sean Tobin of the divisive play Tongues. Tongues was a commission by The Necessary Stage and premiered at the 2012 Singapore Fringe Festival. He is the author of the nonfiction chapbook My Suit.giveartspace. giving us a moment to reflect on the shape-shifting around us.31 Jason Wee is an artist and a writer. dialogues and exchanges between artists. This enables us to provide interesting collaborations. GiveArt. in the artist. We're passionate about art and believe that art is a fundamental part of our society. an arts platform space and residency. both published by Math Paper Press. Vincent Leow. We believe that contemporary art can and should be accessible to www. in the open exchange of ideas and in’s mission is to provide alternative ways to collect critically acclaimed contemporary art through a unique online gift registry allowing collectors to crowd-source for funds to build a contemporary art collection. without losing its conceptual strength. For several years she was also Assistant Editor of the British journal Third Text. Singapore. Karlsruhe. Living with art and engaging with artists should be accessible to everyone. Give Art Space is an extension of our web-based gallery. www. Our gallery artists and exhibited artists are based in Southeast Asia and the UK. Our mission is to bring Southeast Asian contemporary artists to a global audience and to inspire collectors to discover artists working in this rapidly changing region. He exhibits with Valentine Willie Fine Art. Give Art and Chan Hampe Galleries. Graphic design by: Sandrine Llouquet Printed by: AlsOdoMinie Cover image: © 2009-12. academics and writers based in Southeast Asia and the UK.2010).net Adele Tan teaches and writes on art and art history. Give Art Space will focus on nurturing our growing family of gallery artists and curating exhibitions at our space and in collaboration with other institutions and galleries. She holds a PhD from the Courtauld Institute of Art (University of London) and was a recent Global Art and the Museums fellow at ZKM. Artists have a unique ability to capture these changes in their work. We will continue to innovate to create inspiring exhibitions and open forums for all whilst nurturing a group of exciting emerging artists. He also runs Grey (b. curators.giveart.

indd 34 3/31/2012 8:40:41 AM .With the kind support of catalogfinal3003.

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