Art Experiences by 12 Museums, Art Spaces
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Translation and Intercultural Education Isabel Pascua
Document generated on 10/01/2021 8:19 a.m. Meta Journal des traducteurs Translators' Journal Translation and Intercultural Education Isabel Pascua Traduction pour les enfants Article abstract Translation for children This paper deals with translated Canadian multicultural literature written for Volume 48, Number 1-2, May 2003 children and its reception in an intercultural education context in Spanish schools. In the first part of the paper I will introduce intercultural education. In URI: https://id.erudit.org/iderudit/006974ar the second part, I will examine the role of the translator working in a DOI: https://doi.org/10.7202/006974ar multicultural environment where texts are written in one language (English) in one country (Canada), then translated into another language (Spanish) and published in Spain. I will also look at the reception of these translations as well See table of contents as the strategies translators should use to maintain the otherness of the original texts. Publisher(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (print) 1492-1421 (digital) Explore this journal Cite this article Pascua, I. (2003). Translation and Intercultural Education. Meta, 48(1-2), 276–284. https://doi.org/10.7202/006974ar Tous droits réservés © Les Presses de l'Université de Montréal, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
Performance Art
(hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property. -
Art of Tang Da Wu
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Body and communication : the ‘ordinary’ art of Tang Da Wu Wee, C. J. Wan‑Ling 2018 Wee, C. J. W.‑L. (2018). Body and communication : the ‘ordinary’ artof Tang Da Wu. Theatre Research International, 42(3), 286‑306. doi:10.1017/S0307883317000591 https://hdl.handle.net/10356/144518 https://doi.org/10.1017/S0307883317000591 © 2018 International Federation for Theatre Research. All rights reserved. This paper was published by Cambridge University Press in Theatre Research International and is made available with permission of International Federation for Theatre Research. Downloaded on 27 Sep 2021 10:02:22 SGT Accepted and finalized version of: Wee, C. J. W.-L. (2018). ‘Body and communication: The “Ordinary” Art of Tang Da Wu’. Theatre Research International, 42(3), 286-306. C. J. W.-L. Wee [email protected] Body and Communication: The ‘Ordinary’ Art of Tang Da Wu Abstract What might the contemporary performing body look like when it seeks to communicate and to cultivate the need to live well within the natural environment, whether the context of that living well is framed and set upon either by longstanding cultural traditions or by diverse modernizing forces over some time? The Singapore performance and visual artist Tang Da Wu has engaged with a present and a region fractured by the predations of unacceptable cultural norms – the consequences of colonial modernity or the modern nation-state taking on imperial pretensions – and the subsumption of Singapore society under capitalist modernization. Tang’s performing body both refuses the diminution of time to the present, as is the wont of the forces he engages with, and undertakes interventions by sometimes elusive and ironic means – unlike some overdetermined contemporary performance art – that reject the image of the modernist ‘artist as hero’. -
After Utopia Premises the Idea of Utopia on Four Prospects
1 May – 18 Oct 2015 Organised by Supported by In celebration of © 2015 Singapore Art Museum © 2015 Individual contributors All artworks are © the artists unless otherwise stated. Information correct at the time of the publication. Exhibition Curators: Tan Siuli Louis Ho Artwork captions by: Joyce Toh (JT) 1 May – 18 Oct 2015 Tan Siuli (TSL) Louis Ho (LH) All rights reserved. Apart from any fair dealing for purposes of private study, research, criticism, or review, 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 consent from the Publisher. Printer: AlsOdoMinie, Singapore Cover Image: H. Eichhorn, Tropic Woods (detail), issued by Meyers, lithographed by Bibliographisches Institut Leipzig, 1900, as featured in Donna Ong, The Forest Speaks Back (I), 2014. Photograph by John Yuen. Image courtesy of the Artist. Inside Cover Image: Maryanto, Pandora’s Box (detail), 2013, 2015. Image courtesy of the Artist. n naming his fictional island ‘Utopia’, writer Thomas More conjoined the Greek words for ‘good place’ and ‘no place’ – a reminder that the idealised society he conjured was fundamentally phantasmal. And yet, the search and yearning for utopia is a ceaseless humanist endeavour. Predicated on possibility and hope, utopian principles and models of worlds better than our own have been perpetually re-imagined, and through the centuries, continue to haunt our consciousness. Where have we located our utopias? How have we tried to bring into being the utopias we have aspired to? How do these manifestations serve as mirrors to both our innermost yearnings as well as to our contemporary realities – that gnawing sense that this world is not enough? Drawing largely from SAM’s permanent collection, as well as artists’ collections and new commissions, After Utopia premises the idea of Utopia on four prospects. -
Contemporary Asian Art and Exhibitions Connectivities and World-Making
Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. 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 or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern . -
MEDIA RELEASE the Collectors Show Returns with New, Rarely-Seen
MEDIA RELEASE For Immediate Release The Collectors Show returns with new, rarely-seen treasures from private collections 22 January 2013, Singapore – The Singapore Art Museum (SAM) & Credit Suisse are proud to present the third edition of The Collectors Show, one of the most anticipated exhibitions on Singapore’s arts calendar. Independently curated and organised by SAM, and sponsored by Credit Suisse as part of its Innovation in Art series, the exhibition draws from important private collections to present 23 contemporary masterpieces from the Asia-Pacific region. This exceptional exhibition series draws entirely from the private collections of individuals, art foundations, private museums and other organizations, offering museum-goers a unique glimpse into spectacular artworks normally held behind closed doors. The Collectors Show reflects the impact of museum-curated exhibitions in helping visitors find new ways to look at contemporary art. The theme of each exhibition connects the disparate pieces of art together in a thoughtful way, linking the art to our larger contemporary society and culture. Titled ‘Weight of History’, this year’s Collectors Show examines how artists engage with and evaluate local traditions and culture, displaying interconnected relationships between past and present in our increasingly globalised societies. Through the eyes of contemporary artists, Weight of History aims to raise questions about what defines history and how personal accounts of the past are just as valuable as official depictions of historical events, and why the past is still relevant to contemporary art making in Asia. Artists presented in the show hail from across the Asia-Pacific region, including China, Japan, Korea, India, Pakistan, Singapore, Malaysia, Thailand, Philippines, Australia, as well as Tibet and Taiwan. -
Stirring a Fine Brew
GBA4 | GBAFOCUS Friday, June 5, 2020 HONG KONG EDITION | CHINA DAILY Art the HKbox art galleries are open for Out of business again. Tai Kwun Contemporary is back with two new art exhibitions — including one on the timely theme of confinement. Chitralekha Basu reports. Ho Tzu Nyen’s Earth is a spectacular video installation, paying homage to a range of Jun Nguyen Hatsushiba’s video offers a surreal take classical European Renaissance paintings. Now on show at Tai Kwun Contemporary. on the plight of the Vietnamese boat people. ittingly, one of the two exhibitions as photo display boxes. of St James’ e ective and awkward. launched to mark the reopening of The steel cages contain a set of Settlement, a There are more pieces in the show Tai Kwun Contemporary on May 25 four photographs taken by Thai art- charity that helps underscoring the complicated, potential- explores the idea of being boxed in. ist Pratchaya Phinthong. At first rehabilitate people ly-unsettling nature of cultural encoun- FMuch of humanity has experienced the feeling glance the images could be mis- with special needs ters. Ming Wong’s three-channel video, of being sequestered in their own unique ways taken for glimpses of the sky, taken — wove the other one In Love for the Mood, tweaks a scene in the last few months, since the outbreak from inside a cave or dormant vol- using yarns dyed in the from Hong Kong director Wong Kar-wai’s of the novel coronavirus. My Body Holds Its cano. They are in fact chunks of mete- most vivid shades of blue, classic fi lm, In the Mood for Love. -
Heman Chong in Conversation with Lee Ambrozy
The Social Architecture of “Situations”: Heman Chong in Conversation with Lee Ambrozy Luca Lenglet, Soft Corners, 2014, sculpture, in The Part in the Story Where A Part Becomes A Part of Something Else, as part of Moderation(s), Witte de With Center for Contemporary Art, Rotterdam. Photo: Aad Hoogendoorn. eman Chong is an artist whose work dissolves boundaries among literature and the performing and visual arts. As the chief Harchitect of the Moderation(s) project, he expanded his role to include that of institutional curator, employing a range of collaborative methodologies to investigate new ways of refreshing modes of production. In this conversation, through dialogue with Moderation(s) participant and art historian Lee Ambrozy, Heman Chong elaborates on the strategies this multi-platform project employed to expand what contemporary art production can be. He elaborates on the goals and methodologies embedded within the project, revealing how Singaporean art collectives of the 1990s, Contact Improvisation, and graphic design inspired the program for Moderation(s). The collaborative frameworks that emerged over twenty-four months in Moderation(s) revealed the fragility of epistemological hierarchies within the art world and the permeable boundaries between the roles that have come to be established with it. The resulting situations expanded and blurred the roles of the participants, and, similarly, migration between two geographically and culturally divergent centres—Witte de With in Rotterdam and Spring Workshop in Hong Kong—lent Moderation(s) an ephemeral character that eluded conventional definition. Heman Chong’s remarks below demonstrate how artists’ roles have adapted to overlapping cultural contexts and shifting geographies. -
Classic Contemporary Contemporary Southeast Asian Art from the Singapore Art Museum Collection
CLASSIC CONTEMPORARY CONTEMPORARY SOUTHEAST ASIAN ART FROM THE SINGAPORE ART MUSEUM COLLECTION 29 JANUARY TO 2 MAY 2010 ADVISORY: THIS PUBLICATION CONTAINS IMAGES OF A GRAPHIC NATURE ABOUT THE EXHIBITION Classic Contemporary shines the spotlight on Singapore Art Museum’s most iconic contemporary artworks in its collection. By playfully asking what makes a work of art “classic” or “contemporary” — or “classic contemporary” — this accessible and quirky exhibition aims to introduce new audiences to the ideas and art forms of contemporary art. A stellar cast of painting, sculpture, video, photography and performance art from across Southeast Asia are brought together and given the red-carpet treatment, and the whole of the SAM 8Q building is transformed into a dramatic stage for these stars and icons. Yet beneath the glamour, many of the artworks also probe and prod serious issues — often asking critical and challenging questions about society, nation and the history of art itself. Since its inception in 1996, SAM has focused on collecting the works of artists practicing in the region, and many of these once-emerging artists have since established notable achievements on regional and international platforms. This exhibition marks the start of SAM’s new contemporary art programming centred on enabling artistic development through the creation of exhibition and programming platforms, as well as growing audiences for contemporary art. Classic Contemporary offers an opportunity to revisit major works by Suzann Victor, Matthew Ngui, Simryn Gill, Redza Piyadasa, Jim Supangkat, Nindityo Adipurnomo, Agnes Arellano, Agus Suwage, and Montien Boonma, among others. A full programme of curatorial lectures, artist presentations, moving image screenings and performances complete the classic contemporary experience. -
About the Artist Avita Jinhong Guo Was Born in 1988 in Golmud
About the Artist Avita Jinhong Guo Avita Jinhong Guo was born in 1988 in Golmud, Tibetan plateau. Grew up in Qinghai and Russia. She received her BA degree of Oil Painting Department in Ilya Repin State Academic of Fine Arts. In 2012, she was offered scholarship for MA Fine Art degree in University Arts of London, she graduated from Central Saint Martins College of Arts and Design in 2015. In 2017, she paused her Mphi/PhD of Material and Visual Culture of Anthropology in University College of London. She was one of the chef- editors in feminism magazine HYSTERIA from 2015 to 2017, meanwhile she established the performance research group ‘White Torture’ with performance artist Bjork Grue Lidin and active often in east London underground art scene. In 2017 and 2018, she had experimental personal projects showed in 305 Space. Her current works pay attention on the collapse in between personal inner land and realistic political society, the changes of the political filed and personal position in the modernity at large, the changes of the poetic moments in between inner mind and outer cracks. From 2019, she started to re-paint again and trying to explore the relationship between painting and her formal video installation experiments. Ho Rui An Ho Rui An was born in 1990 in Singapore. He is an artist and writer working in the intersections of contemporary art, cinema, performance and theory. Working primarily across the mediums of lecture, essay and film, he probes into the shifting relations between image and power, focusing on the ways by which images are produced, circulate and disappear within contexts of globalism and governance. -
Wada, Akira, April 28, 2011 Akira Wada, 89, of Hono-Lulu, a Retired Theo H
Wada, Akira, April 28, 2011 Akira Wada, 89, of Hono-lulu, a retired Theo H. Davies employee and former Hana High School secretary, died in Kuakini Medical Center. He was born in Kipahulu, Maui. He is survived by wife Hazel H., brother Mamoru and sister Sumie Kon. Private services. [Honolulu Star-Advertiser 27 May 2011] Waddell, Helen Florence, May 14, 2011 Helen Florence Waddell, 93, of Kailua, a homemaker, died in Kaneohe. She was born in South San Francisco. She is survived by son Gregory, three grandchildren and six great-grandchildren. Services pending; to be held in San Mateo, Calif. Online condolences: www.hawaiifuneralservices.com. [Honolulu Star-Advertiser 19 May 2011] Wade, Neville, July 27, 2010 Neville "Steve" Wade, 68, of Kailua, an accountant, business manager at Saint Louis High School and Hawaii Press Newspaper, credit manager at First Insurance of Hawaii and an Army veteran, died in Kailua. He was born in Wyandotte, Mich. He is survived by wife Ruth "Alex," daughter Chelsea Holton, brothers Thomas and James, and four grandchildren. Services: 9:30 a.m. Saturday at Lanikai Beach, Kaiolena Street right of way. Reception to follow at Lanikai Community Center. Donations suggested to Sol Goldman Pancreatic Cancer Research Center payable to the Johns Hopkins University, c/o Ralph H. Hruban, M.D., Johns Hopkins Medical Institutions, 401 N. Broadway, Weinberg 2242, Baltimore, MD 21231-2410. Additional information for an obituary published Aug. 2. [Honolulu Star-Advertiser 15 June 2011] Wagner, Ryan Dustin “Little Buddy”, July 29, 2011 Ryan Dustin “Little Buddy” Wagner, 6, of Schofield Barracks, died at home. -
Pacific Graphics 2018
Pacific Graphics 2018 The 26th Pacific Conference on Computer Graphics and Applications Short Papers and Posters Proceedings Hong Kong October 8 – 11, 2018 General Co-Chairs Hujun Bao, Zhejiang University Horace H. S. Ip, City University of Hong Kong Hans-Peter Seidel, Max-Planck-Institut für Informatik, Germany Alla Sheffer, University of British Columbia Program Co-Chairs Hongbo Fu, City University of Hong Kong Abhijeet Ghosh, Imperial College London Johannes Kopf, Facebook Research Organization Chair David Junhui Hou, City University of Hong Kong Proceedings Production Editor Dieter Fellner (TU Darmstadt & Fraunhofer IGD, Germany) DOI: 10.2312/pg.20182022 This work is subject to copyright. All rights reserved, whether the whole or part of the material is concerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Copyright c 2018 by the Eurographics Association Postfach 2926, 38629 Goslar, Germany Published by the Eurographics Association –Postfach 2926, 38629 Goslar, Germany– in cooperation with Institute of Computer Graphics & Knowledge Visualization at Graz University of Technology and Fraunhofer IGD (Fraunhofer Institute for Computer Graphics Research), Darmstadt ISBN 978-3-03868-073-4 (Short Papers) ISBN 978-3-03868-074-1 (Posters) The electronic version of the proceedings is available from the Eurographics Digital Library at https://diglib.eg.org Table of Contents Registration and Reconstruction StretchDenoise: Parametric Curve Reconstruction with Guarantees by Separating Connectivity from Residual Uncertainty of Samples . 1 Stefan Ohrhallinger and Michael Wimmer Lighting and Ray Tracing Spherical Blue Noise . .5 Kin-Ming Wong and Tien-Tsin Wong Animation Robust and Efficient SPH Simulation for High-speed Fluids with the Dynamic Particle Partitioning Method .