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Archive for the ‘Singaporean’ Category

27 contemporary Southeast Asian artists featured in ASEAN-Korea photo exhibition

Posted by artradar on July 28, 2010


KOREAN ASEAN CONTEMPORARY PHOTOGRAPHY EXHIBITION

Created to showcase the range of dynamic contemporary photography coming from Korean and Southeast Asian artists, Emerging Wave“, currently on view at the GoEun Museum of Photography in Busan (South Korea), features works from 27 artists ranging from emerging creators to established veterans.

Established in March 2009, the ASEAN-Korea Centre promotes both cultural and economic cooperation between Korea and the ten ASEAN (Association of South East Asian Nations) member countries. The organisation  recently partnered with Seoul Art Centre’s Hangaram Art Museum to open their 2010 photo exhibition which features 27 artists from 11 countries.

The exhibition, which is the second since ASEAN-Korea Centre’s launch, exposes the international community to new work by some of Southeast Asia’s brightest contemporary photographers. While many of the participants are veterans, the exhibition gives younger artists exposure to the contemporary art scene of a major city such as Seoul.

“Emerging Wave” attracts artists from all over ASEAN region

For example, for emerging Bruneian photographers Hirfian Hussain and Akmal Benangsutera, the exhibition is an opportunity to showcase the budding photography scene in their home country, as well as a chance to connect with dedicated artists from outside of Brunei.

Artists well-established in other media also make up this year’s selected names such as Burmese performance and installation artist Po Po. While not considered a prolific artist – he has had only two solo exhibitions since 1987 – his work is thoughtful and full of depth. As an artist who works with different media there is much crossover within his work. With his photography he employs elements of cubism, a movement he considers to be painting’s “highest state of intellectual approach.”

Po Po, Searching for Identity: Bottle # 1, 2002-2007, C-print, 167 x 305 cm

Po Po, 'Searching for Identity: Bottle # 1', 2002-2007, C-print, 167 x 305 cm.

“How can I make cubist photos which present every aspect of a thing? These works are not objects of material.  They are objects of mind”.

Although in an article on the Myanmar Times website Po Po states his distinterest in “flashy technology or visual hype”, his selected photos demonstrate his willingness to experiment with newer media to create complex, visually stimulating images without losing the sincerity of his message.

Like Po Po, Singaporean artist Mintio incorporates multiple overlapping angles in photos from her “Concrete Euphoria” series (2008-2009).

Mintio, Kuala Lumpur City Centre, 2008, D-print, 152 x 122 cm

Mintio, 'Kuala Lumpur City Centre', 2008, D-print, 152 x 122 cm.

In spite of being relatively young Mintio, who got her start at a major commercial studio at age 16, has already created a stir with her documentation of Asia’s largest cities using long-exposure techniques. For Mintio, the process is about both rediscovery and finding the unknown in familiar things.

“At the end of the day, no matter how familiar we think we are with a person or a place, there always will be jewels left undiscovered. Perhaps the answer of what a place or city means might just be a continuous journey of finding those jewels.”

Also on display is work by fellow Singaporean Zhao Renhui, a resident artist and member of the Institute of Critical Zoologists. Zhao channels his fascination with man’s perception of animals into photos sometimes depicting live or taxidermy creatures, and other times depicting man’s often futile attempts to be at one with nature. In an interview with Asian Photography Blog, Zhao expresses the idea that photography is a medium through which people “relate to animals and the world”. At the same time it is a medium which “blurs the distinction between fact and fiction”. In one particular image he presents a zoologist who appears nearly invisible with the aid of a camoflague cloak and photo manipulation.

Zhao Renhui, Tottori Sand Dunes, 2009, archieval piezographic print, 84 x 121 cm

Zhao Renhui, 'Tottori Sand Dunes', 2009, archieval piezographic print, 84 x 121 cm.

In doing so, Zhao presents a surreal image as reality and challenges the validity of photography as a medium for depiciting truth. For the artist, reality in photography is illusory and constantly in flux. Viewers must try to make sense of the natural, scientic world through a manipulated, and possibly false, image.

A fascination with perceptions of truth also permeates the photographs of Thai artist Dow Wasiksiri and Vietnamese artist Richard Streitmatter-Tran. While Streitmatter-Tran makes no attempt to hide the artifice of his composite images, Wasiksiri’s saturated photos capture a side of Thai culture that he feels foreigners are not exposed to when viewing the “styled and staged” images of Thailand. According to the artist’s statement on his website:

“Visitors are presented with contrived, idealized images of Thainess by Thais ourselves … countless published views of Thailand are staged and styled. The contrivance and the reality rarely match, leading to startling juxtapositions”.

In presenting what he calls the “unexpected moments”, Dow aims to show unabashed ‘Thainess’ with humor and unself-consciousness.

Indonesian photographer Angki Purbandono makes use of what he calls a “freestyle” approach which allows him to employ methods ranging from collage to the scannography technique used in “Avocado Horse” (2010). Even so, Purbandono doesn’t separate himself from other photographers too much.

“Just like other people working with photography, I play with objects, considering light as important and employing a dark room to print my work.”

Angki Purbandono, Avocado Horse, 2010, Scannography, 100 x 100 cm

Angki Purbandono, 'Avocado Horse', 2010, scannography, 100 x 100 cm.

Korean artists well represented in “Emerging Wave”

Although most of the eleven countries are represented by two artists, organisers made sure to give Korean artists plenty of additional exposure. Bright candied flora populate the work of Koo Seong Youn while Hyun Mi Yoo seems to suspend falling objects in time with skillful compositions. The warped perspectives of Zu Do YangWawi Navarroza’s impersonation of Mexican artist Frida Kahlo, and “real vs. unreal” themes explored by artist Lee Yeleen add to the diversity of subject matter and style. Given that they were chosen for their talent and thoughtful innovation, it comes as no surprise that “Emerging Wave” participants turn the idea of photography on its head. With their photos they call on viewers to question the factual nature not just of the images they view but also the experiences which they have come to accept as normal and routine.

Koo Seong Youn Ht01 (+ Ht02), C-Prints, 2009, 120 x 150 cm

Koo Seong Youn, 'Ht01 (+ Ht02), C-Prints, 2009, 120 x 150 cm.

Other artists included in the show are Koreans Choi Jung Won, Lee Won Chul, and Nanda; Laotians Manichanh Pansivongsay and Phonephet Sitthivong; Indonesian artist Arya Pandjalu; Filipina artist Bea Camacho; Malaysian artists Liew Kung Yu and Tan Nan See; Burmese artist Thit Lwin Soe; Tanapol Kaewpring; Vietnamese artist Le Kinh Tai; and Cambodians Sok Sophal and Tralong Borin.

The exhibition has moved from the Hangaram Art Museum to the GoEun Museum of Photography in Busan and will close on 8 August.

EH/KN

Related Topics: Southeast Asian, photography, museum shows

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Posted in Asian, Connecting Asia to itself, Emerging artists, Indonesian, Korea, Korean, Laoation, Malaysian, Museum shows, Museums, Myanmar/Burmese, Photography, Singaporean, Southeast Asian, Thai, Vietnamese | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

National Art Gallery Singapore pays homage to 1970s leading artist Yeh Chi Wei in a retrospective

Posted by artradar on July 14, 2010


NATIONAL MUSEUM ART RETROSPECTIVE SINGAPORE

The Story of Yeh Chi Wei” at the National Art Gallery, Singapore celebrates the life and times of pioneering artist Yeh Chi Wei, a critical current in the shaping of a unique Southeast Asian style of painting in the 1960s and 70s.

Born and educated in China, Yeh became a well-known artist and educator in Singapore. He is most remembered for his role as the leader of the influential Ten Men group – a group of artists and art educators that would later take on the form of the seminal Southeast Asian Art Association.

Credited with defining the course of the Singapore arts scene in the early days of the 1960s and 70s, Yeh became famous with his unique style that drew from his interests in Chinese woodblock print, Han dynasty carvings, decorations on bronze vessels and oracle and stone drum inscriptions. In his paintings,varied Southeast Asian painting traditions achieve an unlikely unity, evoking a monumentality in both figurative and non-figurative works.

Drummer by Yeh Chi Wei. 1963

Yeh Chi Wei, 'Drummer', 1963.

Yeh took influence from his travels across the Southeast Asian subcontinent with the Ten Men group. Imbibing local painting styles, flavors and colors, Yeh’s works move from representational to an investment in abstraction during his career as an artist.

Boats in Bali by Yeh Chi Wei. 1962

Yeh Chi Wei, 'Boats in Bali', 1962.

In the heyday of Yeh’s popularity as an artist, educator and part of the Ten Men group, Yeh moved to a village in Malaysia where his career took a downward turn. A lot of his works never made it out of Malaysia and the artist fell into obscurity. In an article in The New York Times, Southeast Asian curator Ong Zhen Min said,

It was not until we delved into the archives that we realized how interesting and innovative this artist was, and understood the uniqueness of his art. Most of his paintings were in his Malaysian studio and were not widely circulated beyond that point, so his name faded into obscurity. We hope this exhibition would be able to reintroduce audiences to his art works.

A lot of Yeh’s work stands out for its choice of palette. Of the artist’s unique selection and application of color, Ms Ong says,

Yeh was probably one of the most daring artists of his generation in his use of black. Most artists use black to highlight things, but he actually used black and its different shades as a color. From a distance, it almost looks like a cave drawing, which I think is an effect he was trying to achieve.

Drummer by Yeh Chi Wei. 1970

Yeh Chi Wei, 'Drummer', 1970.

Yeh taught art for 22 years at different schools around Singapore and Malaya and passed away in 1981. This exhibition is the first survey show since his passing, and is an overview of his artistic career and his contribu­tions to the Singapore art scene.

The Story of Yeh Chi Wei” is on at the National Art Gallery, Singapore until 12 September, 2010.

AM/KN

Related Topics: Singaporean artists, museum showsgroups and movements

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Posted in Chinese, Events, Groups and Movements, Museum shows, Painting, Singapore, Singaporean, Southeast Asian, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Pop culture references abound in Indonesian art: curator Eva McGovern discusses Indieguerillas’ Happy Victims and the Southeast Asian art climate

Posted by artradar on June 23, 2010


INDONESIAN CONTEMPORARY ART GALLERY EXHIBITION

Indieguerillas is made up of Indonesian husband-and-wife duo Miko Bawono and Santi Ariestyowanti, whose artistic skills stem from roots in the design industry. Known for their smooth blending of pop culture aesthetics, subtle social commentary and use of traditional Javanese folklore elements, Indieguerillas presented “Happy Victims“, their latest solo exhibition, at Valentine Willie Fine Art Singapore.

The title “Happy Victims” reflects the fact that consumers have willingly but unconsciously become dominated by capitalist spending customs – people no longer spend only for pure necessity, but now spend to gain symbols of status and success. Touching on this popular subject, Indieguerillas’ renderings are colourful and uplifting. A good sense of humour and playful attitude draw the viewer in to investigate the relationships between various elements in their works: sneakers, Mao’s headshot, Astro Boy, Colonel Sanders, Javanese folklore characters.

All Hail the Choreographer, acrylic on wood, 2010. Courtesy of artists and Valentine Willie Fine Art

All Hail the Choreographer, acrylic on wood, 2010. Courtesy of artists and Valentine Willie Fine Art.

The Southeast Asian art scene is both fascinating and difficult, elements which are highlighted in “Happy Victims” and can be attributed to the area’s diversity and rich cultural history. Art Radar Asia spoke with Eva McGovern, the exhibition’s curator, to talk about Indieguerillas, the show, Southeast Asian art, and her experiences working in the region.

Can you describe the process of curating Indieguerillas’ “Happy Victims”? How did you generate the idea?

As it is a solo show by Indieguerillas, the central idea of “happy victims of the capitalism and the material world” was generated by the artists themselves. The curator provides the support structure. One of my personal interests is in urban and youth culture and street style, so I got to know the two artists about 18 months ago and visited their studio. We discussed their idea together, taking inspirations from urban culture.

What’s unique about the Miko Bawono and Santi Ariestyowanti working as a duo?

Miko and Santi have worked together since 1999 and formed Indieguerillas professionally in 2002. The husband-and-wife team usually conceptualise together for the overall big picture. Then, Miko usually makes the initial design and outlines the images while Santi creates the details. They share similar interests in urban and youth culture, which is a big part of their lives. Their works are the visual output of how they live their lives basically.

What’s the unique quality of Indieguerillas’ works compared to other contemporary Indonesian art? Is it their use of youth culture?

It is actually very popular in contemporary Indonesian art creation to incorporate urban culture elements. For example, there is a huge mural tradition in Yogyakarta [which is] common and well celebrated. Younger artists are very interested in this dimension and Indonesia is a very playful place. So lots of humour [and] social comedies can be seen in contemporary Indonesian art.

There are two striking things about Indieguerillas: first, the fact that they work as a husband-and-wife team; second, their proficient experimentation with multiple medium – paintings, installation, design, etc. They benefit from their position as designers by training. Graphic design influences the way they construct their works where there is a considerable amount of experimental energy. They do some commercial work as well, and operate between the two worlds – fine art and commercial art.

Hunter-Gatherer Society III  Javanicus Sk8erensis-Hi, mixed media, 2010. Courtesy of artists and Valentine Willie Fine Art

Hunter-Gatherer Society III Javanicus Sk8erensis-Hi, mixed media, 2010. Courtesy of artists and Valentine Willie Fine Art.

Can you elaborate more on the overlapping between fine art and design manifested in their works?

While design has an imbedded sense of usefulness and fine art is not about being useful, the line between fine art and design is a very flexible one. Indieguerillas do make merchandise and T-shirts, and customised sneakers. In terms of the show [“Happy Victim”], objects are fine art. It can be a bit dangerous trying to block down Indieguerillas in any camp. In this post-modern world, anything goes really.

Design is more acceptable in a way because it can reflect the pop culture we are in. People enjoy looking at design objects, which implies that power comes with an entertaining medium, so artists can convey their messages more effectively. Indieguerillas are not making political comments but simply observations, incorporating Javanese folklore. It is about how things meet and collide together. Even if no one gets the message behind, the beautiful design with its youth finish is pleasing to look at; viewers can just get a sense of enjoyment when looking at the execution of their works. Their works become a bit more sinister as you spend more time looking at it.

By lifting and restyling the Javanese folklore and wayang (shadow puppetry) and mixing them with comical and urban objects such as briefcase and sneakers, Indieguerillas display their sense of cultural pride while connecting with the younger audience.

Across contemporary Indonesian art, is it common that the traditional elements are reinvented to adapt to the new context?

The trauma of political events is still very resonating to people. Traditional culture is still very influential and you can never really escape it. The younger generation of Indonesian artists are more focused on asking themselves about their identities: what it means to be “Indonesian”, what it means to live in the 21st century…. They try to deal with these issues in an open-ended playful way. Indonesian art has many discourses around these issues, supported by solid academic writings.

The Marionette Faithful, Screen printing on teakwood, aluminum plate & digital printing on acrylic sheet, 2010, Courtesy of artists and VWFA

The Marionette Faithful, screen printing on teakwood, aluminum plate and digital printing on acrylic sheet, 2010. Courtesy of artists and Valentine Willie Fine Art.

Can you share with us your views on the art scene in Southeast Asia and any regional differences you noticed, in particular, between Indonesia, Malaysia and Singapore?

It can be troublesome when trying to discuss generally and authoritatively such a complex region [as] Southeast Asia. If I were to make some observations, I would say:

Indonesia:

It is much bigger and has many more artists producing a huge volume of interesting art. There are many more art centres in the country too: Jakarta, Bandung, Yogyakarta. The nature of the communities in the country is very creative and art is well integrated into daily life. Art and creativity is celebrated here.

There is stronger international funding compared to Malaysia and the country’s link to Holland is still very productive in terms of arts funding, cross cultural dialogues, residencies and exhibitions. Overall, Indonesian artists have more confidence about being “artists”.

Malaysia:

Having gained its independence in 1957, the country is much influenced by being more multi-racial. Malaysia has a challenging funding structure for the art, because it is not appreciated or valued as much. Institutionally, the country does not have an intellectual voice guiding or analyzing contemporary art. There are not enough curators and writers. Commercial galleries are leading the way of what kind of art is being bought and seen.

Since the 1990s, artists turned their preoccupation to social commentary and released their frustration in their works. There are several camps of artists: market-friendly traditionalists who are locally inspired and interested in abstract expressionist and realist painting, and the more international groups doing conceptual, performative and installation based work.

Singapore:

There are a lot less artists but the funding stream is well established. The country has a set of well integrated resources, such as biennales and art fairs. It is facing a top-heavy situation: it has an internationally influenced strategy on top, while due to the strict censorship, art creation is much more challenging in terms of producing politically critical work.

What is often seen is some beautifully crafted installation [work] and engagement with international critical theory and conceptual practive. Artists could be more provocative in terms of social commentary, but they are unable or don’t want to do so in this slick and modern, and financially stable, country.

Can you share with us your personal experiences working in the region? How did you first start working in Malaysia?

I came to Malaysia in 2008. Prior to that, I worked in London at a major gallery for four years. I am half English, half Malaysian. Before coming back, I got interested in the burgeoning Southeast Asian art scene and was getting a sense of what is going on. In London, a lot of my time was devoted to facilitating other people’s programmes and I did not have time to research on topics I was interested in.

After I came back, I started writing for a lot of magazines, so I forced myself to think critically. Then I started to teach Malaysian art history in Singapore. I was invited to be part of a group curatorial show on Southeast Asian in February 2009 in Hong Kong. I also work as the Managing Editor of Arteri, an arts blog that looks at Malaysian and  Southeast Asian art. I was accepting a lot of opportunities coming my way in order to figure out what my true interests were. I will be joining Valentine Willie Fine Art to become their regional curator soon.

Back here, hierarchy is not as tight as in London or the US. One is able to connect with the artists and make tangible contributions. Unlike being a small fish in a huge over saturated pond, I feel I am part of a growing changing scene. I find it very inspiring and rewarding to work with people with shared experiences, who are committed to doing something great.

SXB/KN

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Posted in Asian, Cartoon, Consumerism, Curators, Design, Gallery shows, Graffiti, Indonesia, Indonesian, Interviews, Malaysian, Overviews, Painting, Pop Art, Professionals, Singapore, Singaporean, Southeast Asian, Themes and subjects, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

Is Singapore threatening Hong Kong as next Asian art mecca? Wall Street Journal

Posted by artradar on November 17, 2009


SINGAPORE AND HONG KONG’S COMPETING ART MARKET

Singapore’s art scene has grown rapidly since its 1989 government mandate to recognize the “importance of culture and the art.” Thriving to a point that, according to The Wall Street Journal, Hong Kong–Asia’s epicenter of art–is beginning to take its competitor seriously.

Hong Kong’s challenging art scene

Today’s numbers would suggest that Hong Kong has nothing to worry about for competition.  Hong Kong is currently the third-largest auction market in the world with both Christie’s and Sotheby’s in its territory, and has set aside close to US$3 billion in order to create a much needed world class arts and culture development known as West Kowloon Cultural District. The project, however, has been slow to start and left many frustrated.

“The Hong Kong government first hit upon the idea in 1998 of building an integrated arts and culture neighborhood on 40 hectares of reclaimed land in the West Kowloon district. After many fits and starts, planning for the project recently picked up some momentum…Nevertheless, even if it all goes as planned, the first phase won’t be open until 2016.”

West Kowloon

One of the proposed models for the West Kowoon Cultural Centre

The West Kowloon project has been “frustrating and painful,” says Asia Art Archive’s Ms. Hsu, who is also on the advisory panel for the museum at the new West Kowloon development. “For the public it has looked like the government is stalling, but it gives me a lot of hope. The government is very concerned about getting it right.’”

Singapore makes its move

The time spent behind making Hong Kong’s “necessary cultural move” may eventually result in Singapore gaining ground in the market by the country’s pushing ahead with so many art-hub projects of their own.

“It [Singapore] invested more than US$1 billion in infrastructure, including several museums and a 4,000-seat complex of theaters, studios and concert halls called the Esplanade, which opened in 2002, and spiced up its arts programming with diversity and a regional flavor.”

singapore esplanade

The Esplanade, Singapore

The benefits of Singapore’s art initiatives are already apparent. According to Singapore’s National Arts Council “between 1997 and 2007, the ‘vibrancy’ of the local art scene, measured by the number of performances and exhibition days, quadruped to more than 26,000.”

However, Singapore is still missing a key ingredient to perhaps prosper further: a big art-auction market like Hong Kong’s.

“Some smaller art-auction houses hold sales in Singapore, but the big ones — Christie’s and Sotheby’s — have pulled out and moved their Southeast Asian art auctions to Hong Kong, the former British colony that is home to seven million people and became a Chinese territory in 1997.”

For a city, having the ingredients for a thriving art market creates a virtuous circle. The powerful marketing machines of the big auction houses, including public previews of coming sales, raises awareness and appreciation of art in the community. All this encourages local artists to create more art. And that momentum, in turn, contributes to the development of a city’s broader cultural scene, including music, theater and design.”

Singapore looks ahead

The relationship between big art-auction markets and a thriving art scene can be so entangled that it would appear difficult to navigate a new course in order to adequately compete. Singapore, it seems, is trying anyways.

“Undaunted, Singapore is diligently pushing ahead and has opened several museums and other arts venues while Hong Kong has dithered on the construction of West Kowloon. Christie’s also recently picked Singapore to be the site of a global fine-arts storage facility to open in a duty-free zone in January.”

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Chance to learn where Singaporean art is heading plus two firsts for emerging artist competition Presidents Young Talents at Singapore Art Museum

Posted by artradar on September 9, 2009


SINGAPORE MUSEUM ART COMPETITION

Singapore had a predicament. The city-state needed to find the young artistic voices to represent Singapore at international level art fairs and events. The problem has been solved and future Singaporean art stars are being identified with the inception of the Presidents Young Talents (PYT) exhibition, a contemporary art exhibition series featuring the 4 most promising young Singaporean artists who compete for votes from a discerning public. The President’s Young Talents exhibition first debuted in 2001, organized by the Singapore Art Museum and Istana, butPresidents Young Talents this is the first year with the online voting function that includes an interactive public.

It works like this

Four young artists are chosen by a curatorial committee, and a special work is created by each artist and exhibited at the Singapore Art Museum in the PYT exhibition.

The public can also view artworks and artist biographies online, and is encouraged to vote for their favorite artist via the PYT website from Aug 15th through Oct 31st, 2009.  One of the 4 artists will be declared the winner, and receive a cash prize and art residency abroad, sponsored by Credit Suisse. The winner of the PYT 2009 will be announced on November 6th, 2009 at the PYT Gala dinner.

The artists nominated for the show, curated by Ms. Tan Siu Li, are: Donna Ong, Felicia Low, Twardzik Ching Chor Leng, and the artist collective Vertical Submarine. This is the first year in which an artist collective has been selected to participate, and Vertical Submarine’s inclusion reflects an acceptance of the current changes in contemporary art practices.

For a quick summary Art Daily gives an overview of each work below. However for a more lively description, we encourage you to click through to the particularly well-planned website (link above) where you can see short videos in which each artist discusses the concepts behind their non-traditional intriguing projects.

All the artists will create a new work for PYT 2009, and this exhibition offers a unique opportunity to take stock of where contemporary art in Singapore could be heading.

Donna Ong’s installation will examine the representation of perspective in Eastern as well as Western artistic traditions through a series of layered landscapes.

Twardzik Ching Chor Leng continues her practice of land-based art by inviting the public to reconsider the significance of the Singapore River in history, as well as in our lives today.

Felicia Low, who actively engages with (often marginalised or disadvantaged) communities in her work, will conduct live sessions in the gallery, leading groups of people in an exploration of family and social relationships.

Last but not least, tongue-in-cheek collective Vertical Submarine will present a work-within-a-work, inviting the public into their immersive installation which continues their earlier investigations into the relationship between text, image and representation.

Land art by Twardzik Ching Chor Leng

Editor’s note: We were particularly interested in Twardzik Ching Chor Leng’s plan to siphon an “‘umbilical cord” pipeline of river water through the streets of Singapore to connect the river and art museum. Land art is rare in Asia which makes the artist’s attempt to promote this genre in the confined space of city-state Singapore all the more inspiring.

Space constraints stimulate Singaporean artists?

It is interesting to note that each of the contestants deals with the topic of space in one form or another: from land art to the creation of domestic interiors to the study of perspective as a representation of space.

What the museum staff say

Regarding the exhbition, Mr. Tan Boon Hui, Director Designate of Singapore Art Museum, says:

“President’s Young Talents is SAM’s key platform to introduce Singaporeans to the work of a new generation of contemporary artists. The ‘can-do’ spirit that marks much of the best contemporary art coming out from Singapore now is clearly visible in these new works from Donna Ong, Twardzik Ching Chor Leng, Felicia Low and Vertical Submarine.

While their work has departed markedly from the traditional conventions of what art should look like, it is nonetheless as thoughtful, enjoyable and beautiful as the paintings and sculptures we are more familiar with.

Through such channels as the new PYT microsite, with its information rich content, SAM is working also to make contemporary art accessible to as large a community as possible. As one of the few platforms that regularly provides support to nurture the creation of original local art, SAM hopes to continue growing PYT along with the local contemporary arts scene.’

The President’s Young Talents is on display at the Singapore Museum from August 15th till December 27th, 2009, at the museum’s 8Q SAM art space and you can vote until the end October 2009. Be warned though that the voting mechanism requires input of addresses and phone numbers. We hope that this will be stream-lined in the future to encourage voter participation.

-contributed by Erin Wooters

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Posted in Conceptual, Domestic, Furniture, Galleries work the web, Landscape, Museum shows, Museums, Singapore, Singaporean, Space, Uncategorised | Tagged: , , , , , , , , , , , , , , , | Leave a Comment »

Top 14 books on Southeast Asian art by Adeline Ooi

Posted by artradar on April 20, 2009


ART BOOKS INDONESIA MALAYSIA SINGAPORE PHILIPPINES THAILAND

This primer reading list has been selected by Adeline Ooi of Kuala Lumpur-based Rogue Art, an art consultancy group specialising in the management of art projects, exhibitions, collections and publications. Adeline will be speaking about Southeast Asian art at the Asia Art Forum to be held in Hong Kong in May 2009.

This list was first published on Arteri, a new and what looks to be a very promising blog on Malaysian and Southeast Asian art and is republished with permission from Adeline here. As Arteri explains, so much of what curators and experts know

“is acquired through fieldwork, contacts, long hours spent talking to artists, curators, historians, critics. So little of this knowledge (gossips, legends, histories, theories) has yet to be documented and written down, analysed and most importantly shared. Yet, what little that’s already published out there is really worth looking at.”

Books available on Amazon are linked. The list in chronological order:

Indonesian Contemporary Art Now
By Marc Bollansee and Enin Supriyanto
SNP Editions, 2007
ISBN-13: 9789812481429

Between Generations: 50 Years Across Modern Art in Malaysia
Beverly Yong and Hasnul J Saidon (editors)
Universiti Malaya Press, Universiti Sains Malaya Press & Valentine Willie Fine Art, 2007
ISBN: 983861348

Contemporary Art in Singapore
With Essays by Russell Storer, Gunalan Nadarajan and Eugene Tan
Institute of Contemporary Arts (ICA) Singapore, 2007
ISBN-13: 9789810564612
(Note: ICA Singapore is a part of LaSalle-SIA College of the Arts)

Telah Terbit (Out Now): Southeast Asian Contemporary Art Practices during the 1970s
Ahmad Mashadi
Singapore Art Museum, 2006
(Note: This is an exhibition guide and does not qualify as a book but the introduction essay for this show is insightful and really worth the read)

Art and Social Change: Contemporary Art in Asia and the Pacific
Caroline Turner (editor)
Pandanus Press, 2005
ISBN-10: 1740760468

Protest: Revolutionary Art in the Philippines, 1970-1990
By Alice Guillermo
University of Philippines Press, 2005
ISBN-10: 9715421679

Exploring Modern Indonesian Art: The Collection of Dr. Oei Hong Djien
By Helena Spanjaard & Oei Hong Djien
SNP Editions, 2004
ISBN-13: 9789812480101

Flavours Thai Contemporary Art

Flavours Thai Contemporary Art

 

Flavours: Thai Contemporary Art
By Steven Pettifor
Thavibu Gallery, 2003
ISBN-10: 9749173767

Image to Meaning: essays on Philippine Art
By Alice Guillermo
Ateneo de Manila University Press, 2001
ISBN: 9715503764

Contemporary Art in Asia: Traditions, Tensions
Essays by by Apinan Poshyananda, Thomas McEveilley, Geeta Kapur, Jim Supangkat, Marian Pastor Roces, Jae-Ryung Roe
Asia Society, 1997
ISBN-10: 0878480838

Modern Asian Art
By John Clark
University of Hawaii Press, 1998
ISBN-10: 9057040417

Southeast Asian Art Today

Southeast Asian Art Today

 

Southeast Asian Art Today
Joyce Fenema (editor)
Roeder Publications, 1996
ISBN-10: 9810060025

Modern Art in Thailand: Nineteenth and Twentieth Centuries
By Apinan Poshyananda
Oxford University Press, 1992
ISBN-13: 9780195885620

Vision and Idea – Relooking Modern Malaysian Art
T.K Sabapathy (editor)
National Art Gallery (Malaysia) 1994
ISBN: 983957201
(out of print)
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Posted in Filipino, Indonesian, Malaysian, Ooi Hong Djien, Singaporean, Thai | Tagged: , , , , , , , , , , , | 1 Comment »

Singaporean artist Mona Choo awarded first VandA print-making residency

Posted by artradar on December 24, 2008


Mona Choo Made in China

Mona Choo Made in China

SINGAPORE ARTIST LONDON MUSEUM

Hong Kong-based and Singapore born artist and print maker Mona Choo has been awarded the first printmaking residency at the Victoria and Albert Museum in partnership with The London Print Studio and London Printworks Trust. The six month residency will begin January 2009.

Mona Choo The Last Drop
Mona Choo The Last Drop

Selection criteria for the proposal included ideas on how to use the V&A’s collections for inspiration to create new work reports Art Asia News.

Choo’s interest in the metaphysical led to a curiosity about whether ‘old’ objects still hold within them any kind of energy transferred from their creator – the idea that a living person could leave behind an imprint. Choo’s aim is to find a way to record the visual expression of these energies from people and to find another way for people to experience these objects apart from merely seeing these objects as things.

Choo has works in the permanent collection of the Singapore Art Museum, the private collection of United Overseas Bank and has exhibited in New York, the UK, Singapore and Australia.

Asian Art News (print)

 

For more images and bio see artist profile of Mona Choo on Saatchi

More about Singaporean artists, reports from London, emerging artists, prize winners

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Posted in Acquisitions, London, Museum collectors, Singaporean, UK | Tagged: , , , , , , | Leave a Comment »

Singapore artist Yeo Chee Kiong’s installation wins ‘richest’ Asian art prize – Bloomberg

Posted by artradar on November 4, 2008


INSTALLATION ART PRIZE

Yeo Chee Kiong won the S$45,000 ($30,793) inaugural APB Foundation Signature Art Prize (images on website) for his installation “A Day Without a Tree,” originally shown last year at Singapore’s National Museum.

Yeo’s mixed-media work greeted visitors to the building, built in 1887, with what looked like a large puddle of white paint dripping from the walls as the columns of the four-story- high atrium melted. Yeo won the grand prize, the richest in Southeast Asia, sponsored by the Singapore Art Museum and Asia Pacific Breweries Ltd., maker of Tiger beer.

Yeo, born in 1970, said he decided to create a work based on the classical architecture because the museum was celebrating its 120th anniversary at the time of his installation.

“I tried to present something that you are not sure of,” he said in an interview at the Singapore Art Museum.

He declined to explain the work or its title.

“My position is not to tell you what it is. You have to figure that out for yourself,” he said.

Yeo was chosen from a shortlist of 12 artists from the region, including Malaysian Ahmad Fuad B. Osman, China’s Zheng Bo and India’s G.R. Iranna, who all won S$10,000 jurors’ choice awards. Mongolia’s Davaa Dorjderem won S$10,000 for the people’s choice, selected by online voters.

The award is part of a 15-year partnership between APB and the Singapore Art Museum signed a year ago. The APB Foundation has committed S$2.25 million in funding for the prize, which will be awarded every three years.

The 10 shortlisted works are on view at the Singapore Art Museum until Nov. 16.

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Posted in Chinese, Indian, Installation, Malaysian, Museum shows, Museums, Prizes, Singapore, Singaporean | Tagged: , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Sovereign Asian Art Prize 2008 emerging artists on show in Hong Kong

Posted by artradar on October 29, 2008


ASIAN ART PRIZE

The Sovereign Asian Art Prize carries a first prize of US$25,000 and is in its 5th edition. This time the acceptance criteria have been broadened from all forms of painting to all forms of 2D media. Thirty finalists have been selected by a panel of experts from 1000 entries. A public prize is also awarded to the painting which receives the most votes from the public who attended the exhibition or cast their votes on the website.

The culmination of the prize is a public auction where it is hoped that funds will be raised to support charities and a ‘first of its kind in Hong Kong’ three year residency programme for international artists.

Judges are Uli Sigg (collector) Peter Aspden (Financial Times critic) Pamela Kember (art historian and critic) Victoria Lu(musem consultant) Pooja Sood(Director of Khoj Foundation) and Xu Bing (artist).

Finalists

Australia: Bundit Puangthong, Chris Wake, China: Collette Fu, Hou Yan Yan Hong Kong: Caroline Chiu, Chow Chun Fai, Man Fung-Yi, Gretchen So, Peter Steinhauer, Angela Su, Anothermountainman India:Seema Kohli, Indonesia:Terra Bajraghosa, Suroso Isur, Saputro Uji Handoko Eko, Japan: Yu Hara, Maiko Sugano, Noriko Yamaguchi Korea: Dongi Lee, Lim Taek Malaysia: Chan Kok Hooi, Hoo Kiew Hang, Myanmar: Mor Mor Philippines: Robert Langenegger Singapore: Mee Ai Om Taiwan: Chiu Chien-Jen Thailand: Jaratsri Prasongdee, Laura Spector, Sirat Ubolyeam Vietnam: Le Thiet Cuong

Radar’s picks

Lim Taek

Lim Taek

Korean artist Lim Taek’s work is inspired by 18th century traditional Korean black and white ink drawings. Tael transforms these into 3D sculptures made of plastic and Korean traditional paper which he installs in a gallery.  He then photographs animals trees rocks and people and places these images into the installation. His intention is to create a dreamlike sensation for viewers as they gaze at his imaginary world.

Maiko Sugano

Maiko Sugano

Japanese artist Maiko Suganowas nominated by Asia Art Archive. She is interested in bridging barriers and misunderstandings by seeking common ground across cultures. In 2002 Sugano was presented with the Jack and Gertrude Murphy Fine Arts Fellowship sponsored by San Francisco foundation. She also runs an artist residency house called ‘YomoYama House’.

Angela Su

Angela Su

This work ‘Amorpha Juglandis’ is part of a series and drawings and embroideries in a project entitled ‘Paracelsus Garden’ – an imaginary location inhabited by insects and plants which on closer inspection reveal themselves to be a bizarre juxtaposition of bones muscles and organs. This work takes the form of a moth which uses the cochlear (part of the human inner ear) and scapulas(shoulder blades) as wings. The entire work is embroidered with fine polyester filament on silk.

Noriko Yamaguchi

Noriko Yamaguchi

Noriko Yamaguchi was born in 1983 and her work crosses over the mediums of photography and performance art. In the ‘Ketai Girl’ series Yamaguchi wears a bodysuit made of cellphone keypads a comment on today’s society where people are in constant telephonic touch but ache for physical connection. In 2004 she received the Panel of Judges Award at the 21st Century Asia Design Competition held by Kyoto University of Art and Design.

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Posted in Australian, China, Chinese, Emerging artists, Handicraft art, Hong Kong, Hong Kong Artists, Human Body, Indian, Indonesian, Japanese, Korean, Malaysian, Performance, Photography, Sculpture, Singaporean, Southeast Asian, Taiwanese, Thai, Thread, Vietnamese | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Indonesian, Filipino prices rise at Sotheby’s despite meltdown

Posted by artradar on October 13, 2008


I Nyoman Masriadi The Final Round

I Nyoman Masriadi The Final Round

 

AUCTION SOUTH EAST ASIAN ART 2008

Sotheby’s autumn sales in Hong Kong were grim apart from the South East Asian sale which provided some much needed relief. The success of the sale prompted an ebullient quip from Sotheby’s entertaining auctioneer Chin Yeow : “Is there a financial meltdown out there because I am not feeling it. The banks should ask our bidders if they need money!”

The sale included Malaysian, Filipino, Singaporean and Vietnamese art but was dominated by Indonesian works. Bidding was thin for Vietnamese lots and these attracted interest mainly from Paris. In contrast the Filipino and in particular the Indonesian lots attracted fierce bidding wars from bidders on all continents.

The works which attracted most interest included those by I Nyoman Masriadi, Agus Suwage, Rudy Mantofani and FX Harsano.

Two Indonesian markets: modern/colonial and contemporary/popular

Information about Indonesian art is notoriously difficult to come by. Helen Spanjaard, a Dutch art academic specialising in Indonesian art (one of only two in the world who speak English she says), explains that there are two distinct markets for Indonesian works – the colonial/Dutch influenced body of works eg Affandi and the new generation mostly born in the seventies.

“There is established buying support for the colonial works mostly from Chinese Indonesian collectors who compete with one another to drive up prices”. There is a second much more international market for the seventies generation artists. Dr Spanjaard notes that those works which are particularly popular are reminiscent of Chinese pop art or refer to popular cultural influences such as cartoons, superheros, flat stylisation, fantasy.

This was certainly borne out in the sale. Indonesian artist I Nyoman Masriadi’s The Man From Bantul (The Final Round), 2000, lot 838, an impressive triptych of a fight painted in a flat stylised manner sold for HK$7,820,000 (US$1,000,725) after lively bidding, five times its high estimate of HK$1-1.5 million.

A number of other works by Masriadi fetched impressive prices  including Petualanganku Berakhir Setelah Ketemu Ibumu (My Adventure Ended After I Met Your Mother), which sold for HK$2,900,000 (US$371,113) (lot 895, est. HK$250/350,000), and Too Small, which achieved HK$1,820,000 (US$232,905) (lot 808, est. HK$250/350,000), both bringing many times their high estimates. These works featured flat images with cartoon-style poses and speech bubbles.

Sotheby’s again set a record for the work of Rudi Mantofani (b. 1973) following the record price achieved
in its series of spring 2008 sales last season. Pohon-Pohon Langit (Sky Trees) sold for HK$3,020,000
(US$386,469), bringing almost eight times its high estimate (lot 868, est. HK$280,000 – $380,000). Mantofani is known for his surreal fantasy landscapes in which for example trees are clouds and shadows are holes.

Artist records were also broken for Dipo Andy and Jumaldi Alfi. More abstract contemporary works and by for example Yunizar, Putu Satawijaya and the moderns also attracted interest but to a lesser extent.

Filipino artists

Filipino artists who did well in this sale included Geraldine Javier, Ronald Ventura, Annie Cabigting, Yasmin Sison and Lirio Salvador.

Why is South East Asian art so popular now?

Some commentators note that there is a structural issue which is affecting the art market. Today’s buyers are more speculative than at any time in the history of art buying and that the interest in South East Asian works is coming from former buyers of Chinese art who are looking for the next hot trend. Others note that the sale was a success because prices of South East Asian art are relatively cheap compared with other markets.

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Posted in Auctions, Cartoon, Collectors, Critic, Filipino, Hong Kong, Individual, Indonesian, Malaysian, Market watch, Pop Art, Professionals, Recession, Singaporean, Southeast Asian, Vietnamese | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »