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ORGANISED BY COMMISSIONED BY SUPPORTED BY SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016 ARTISTS AHMAD FUAD OSMAN 59 KENTARO HIROKI 21, 49 SHARMIZA ABU HASSAN 27 MALAYSIA THAILAND/JAPAN MALAYSIA MARTHA ATIENZA 31 HTEIN LIN 46 DO HO SUH 28 PHILIPPINES/NETHERLANDS MYANMAR SOUTH KOREA/UNITED STATES/ UNITED KINGDOM AZIZAN PAIMAN 41 JIAO XINGTAO 59 MALAYSIA CHINA ADEELA SULEMAN 49 PAKISTAN RATHIN BARMAN 51 SAKARIN KRUE-ON 61 INDIA THAILAND MELATI SURYODARMO 23 INDONESIA HEMALI BHUTA 26 MARINE KY 57 SEA OF INDIA CAMBODIA/FRANCE EDDY SUSANTO 25 JAPAN INDONESIA SOUTH KOREA JAPAN BUI CONG KHANH 50 PHASAO LAO 35 VIETNAM TCHEU SIONG NOBUAKI TAKEKAWA 48 LAOS JAPAN YELLOW SEA DAVID CHAN 54 CHINA SINGAPORE H.H. LIM 21 JACK TAN 47 MALAYSIA/ITALY SINGAPORE/UNITED KINGDOM CHIA CHUYIA 41 MALAYSIA/SWEDEN LIM SOO NGEE 20 MELISSA TAN 42 PAKISTAN SINGAPORE SINGAPORE CHOU SHIH HSIUNG 29 TAIWAN MADE DJIRNA 27 TAN ZI HAO 28 EAST INDONESIA MALAYSIA CHINA SEA ADE DARMAWAN 48 TAIWAN BANGLADESH INDONESIA MADE WIANTA 25 TITARUBI 34 HONG KONG INDONESIA INDONESIA DENG GUOYUAN 34 INDIA TROPIC OF CANCER MYANMAR CHINA MAP OFFICE 23 TUN WIN AUNG & WAH NU 32 LAOS HONG KONG/FRANCE MYANMAR DEBBIE DING 55 SINGAPORE/UNITED KINGDOM MUNEM WASIF 42 RYAN VILLAMAEL 36 BANGLADESH PHILIPPINES 3 PAGE THAILAND PHILIPPINES PATRICIA PEREZ EUSTAQUIO 22 PHILIPPINE SEA PHILIPPINES PHUONG LINH NGUYEN 33 WEN PULIN 43 VIETNAM BAY VIETNAM ZANG HONGHUA OF SOUTH BENGAL FAIZAL HAMDAN 47 CHINA CAMBODIA CHINA SEA BRUNEI NI YOUYU 30 CHINA WITNESS TO PARADISE 2016: 44 ANDAMAN DEX FERNANDEZ 26 NILIMA SHEIKH, PRANEET SOI, SRI LANKA SEA PHILIPPINES PERCEPTION3 55 ABEER GUPTA & SANJAY KAK SINGAPORE INDIA MALAYSIA BRUNEI FYEROOL DARMA 33 SINGAPORE PALA POTHUPITIYE 24 XIAO LU 20 SRI LANKA CHINA SINGAPORE SUBODH GUPTA 54 INDIA QIU ZHIJIE 29 PANNAPHAN YODMANEE 31 EQUATOR CHINA THAILAND GREGORY HALILI 30 PHILIPPINES NIRANJAN RAJAH 50 HARUMI YUKUTAKE 22 MALAYSIA/CANADA JAPAN HAN SAI POR 37 SINGAPORE ARAYA RASDJARMREARNSOOK 36 ZULKIFLE MAHMOD 24 INDONESIA JAVA FLORES SEA SEA THAILAND SINGAPORE AGAN HARAHAP 32 INDONESIA S. -
Exhibition Guide
ArTScience MuSeuM™ PreSenTS ceLeBrATinG SinGAPOre’S cOnTeMPOrArY ArT Exhibition GuidE Detail, And We Were Like Those Who Dreamed, Donna Ong Open 10am to 7pm daily | www.MarinaBaySands.com/ArtScienceMuseum Facebook.com/ArtScienceMuseum | Twitter.com/ArtSciMuseum WELCOME TO PRUDENTIAL SINGAPORE EYE Angela Chong Angela chong is an installation artist who Prudential Singapore Eye presents a with great conceptual confidence. uses light, sound, narrative and interactive comprehensive survey of Singapore’s Works range across media including media to blur the line between fiction and contemporary art scene through the painting, installation and photography. reality. She has shown work in Amsterdam Light Festival in the netherlands; Vivid works of some of the country’s most The line-up includes a number of Festival in Sydney; 100 Points of Light Festival innovative artists. The exhibiting artists who are gaining an international in Melbourne; cP international Biennale in artists were chosen from over 110 following, to artists who are just Jakarta, indonesia, and iLight Marina Bay in submissions and represent a selection beginning to be known. Like all the other Singapore. of the best contemporary art in Prudential Eye exhibitions, Prudential 3D Tic-Tac-Toe is an interactive light sculpture Singapore. Prudential Singapore Eye is Singapore Eye aims to bring to light which allows multiple players of all ages to the first major exhibition in a year of a new and exciting contemporary art play Tic-Tac-Toe with one another. cultural celebrations of the nation’s 50th scene and foster greater appreciation of anniversary. Singapore’s visual art scene both locally and internationally. 3D Tic-Tac-Toe, 2014 The works of the exhibiting artists demonstrate versatility, with many of the artists working experimentally Jeremy Sharma Jeremy Sharma works primarily as a conceptual painter. -
Associate Artistic Director, Theatreworks, Singapore Associate Artist, the Substation, Singapore
Associate Artistic Director, Theatreworks, Singapore Associate Artist, The Substation, Singapore vertical submarine is an art collective from Singapore that consists of Joshua Yang, Justin Loke and Fiona Koh (in order of seniority). According to them, they write, draw and paint a bit but eat, drink and sleep a lot. Their works include installations, drawings and paintings which involve text, storytelling and an acquired sense of humour. In 2010, they laid siege to the Singapore Art Museum and displayed medieval instruments of torture including a fully functional guillotine. They have completed projects in Spain, Taiwan, Hong Kong, Korea, The Philippines, Mexico City, Australia and Germany. Collectively they have won several awards including the Credit Suisse Artist Residency Award 2009, The President’s Young Talents Award 2009 and the Singapore Art Show Judges’ Choice 2005. They have recently completed a residency at Gertrude Contemporary in Melbourne. MERITS 2009 President’s Young Talents 2009 Credit Suisse Art Residency Award 2005 Singapore Art Show 2005: New works, Judge’s Choice 2004 1st Prize - Windows @ Wisma competition, Wisma Atria creative windows display PROJECTS 2011 Incendiary Texts, Richard Koh Fine Art, Kuala Lumpur, Malaysia Dust: A Recollection, Theatreworks, Singapore Asia: Looking South, Arndt Contemporary Art, Berlin, Germany Postcards from Earth, Objectifs – Center for Photography and Filmmaking, Singapore Open Studios, Gertrude Contemporary, Melbourne, Australia Art Stage 2011, Marina Bay Sands, Singapore 2010 How -
Shaping Visions Unites Expressions of Lived and Natural Environments by Five Celebrated Cultural Medallion Recipients
PRESS RELEASE STPI Gallery’s Annual Special Exhibition Shaping Visions unites expressions of lived and natural environments by five celebrated Cultural Medallion recipients Opens to Public: Sunday, 27 Sep – Sunday, 15 Nov 2020 STPI Gallery Free Entry Shaping Visions STPI Gallery is delighted to present its Annual Special Exhibition 2020, Shaping Visions. This year, STPI proudly looks close to home with its selection of five extraordinary artists in Singapore: the late master of Chinese ink Chua Ek Kay; pioneering collage artist Goh Beng Kwan; leading sculptor Han Sai Por; seminal performance artist Amanda Heng; and renowned watercolour painter Ong Kim Seng. Shaping Visions marks the first time these distinguished practitioners — who have each been awarded The Cultural Medallion, the nation’s highest honour for arts and culture practitioners — exhibit together, in an ode to their immense artistic contributions. A testimony of artistic sensibilities and achievements across time Shaping Visions unites each artist’s distinct depictions showcases each artist’s trail-blazing style and expert of natural and built environments, shedding light command of media and materials. As the artists hail on personal reflections of and postures towards an from backgrounds that are largely not printmaking- evolving society. centric, the exhibition will feature a diverse range of expressions that invite moments of pause, suspension By bringing together existing, signature pieces as well and perception. as print-based works produced during their respective residencies -
Curriculum Vitae
HO TZU NYEN何子彥 CURRICULUM VITAE 1976 Born in Singapore 2007 Graduated from National University of Singapore, Master of Art (by Research), Southeast Asian Studies Programme 2001 Graduated from University of Melbourne, Victorian College of the Arts, School of Creative Arts (Dean's Awards), Bachelor of Creative Arts Currently lives and works in Singapore SELECTED VISUAL ARTS EXHIBITIONS 2010 Media Landscape -Zone East, The Korean Cultural Centre, London, United Kingdom Liverpool Biennial, Media Landscape -Zone East, Liverpool, United Kingdom Solo exhibition at the Contemporary Art Centre South Australia, Australia No Soul for Sale, Tate Modern, London, United Kingdom Video Art Biennial, Tel Aviv, Israel intercool 3.0, Hartware Medienkunstverein im Dortmunder U, Dortmund, Germany ShContemporary, Future Perfect, Shanghai, China 2009 The Zarathustra Project, 6th Asia-Art Pacific Triennial, Australia H the Happy Robot, 6th Asia-Art Pacific Triennial, Australia Yokomama Festival of Art and Media, Japan The Dojima River Biennale, Osaka, Japan The Making of the New Silk Roads, Bangkok University Gallery, Thailand The Singapore Art Show, Singapore Art Museum, Singapore Some Rooms, Osage Kwun Tong, Hong Kong, China 2008 Coffee, Cigarettes and Phad Thai- Contemporary Art from Southeast Asia, Eslite Gallery. Taiwan Art Multiple, Ke Center for the Contemporary Arts, Shanghai, China Loop in Motion, Video Festival, Seoul, South Korea MU Popshop, Stichting MU, Eindhoven, The Netherlands HO TZU NYEN何子彥 CURRICULUM VITAE Art & Entrepreneurship, Credit-Suisse -
Brother Joseph Mcnally P
1 Design Education in Asia 2000- 2010 Exploring the impact of institutional ‘twinning’ on graphic design education in Singapore Simon Richards Z3437992 2 3 Although Singapore recently celebrated 50 years of graphic design, relatively little documentation exists about the history of graphic design in the island state. This research explores Singaporean design education institutes that adopted ‘twinning’ strategies with international design schools over the last 20 years and compares them with institutions that have retained a more individual and local profile. Seeking to explore this little-studied field, the research contributes to an emergent conversation about Singapore’s design history and how it has influenced the current state of the design industry in Singapore. The research documents and describes the growth resulting from a decade of investment in the creative fields in Singapore. It also establishes a pattern articulated via interviews and applied research involving local designers and design educators who were invited to take part in the research. The content of the interviews demonstrates strong views that reflect the growing importance of creativity and design in the local society. In considering the deliberate practice of Singaporean graphic design schools adopting twinning strategies with western universities, the research posits questions about whether Singapore is now able to confirm that such relationships have been beneficial as viable long-term strategies for the future of the local design industry. If so, the ramifications may have a significant impact not only in Singapore but also in major new education markets throughout Asia, such as the well-supported creative sectors within China and India. -
The Artistic Adventure of Two Bali Trips, 1952 and 2001
Wang Ruobing The Quest for a Regional Culture: The Artistic Adventure of Two Bali Trips, 1952 and 2001 Left to right: Liu Kang, Cheong Soo Pieng, Luo Ming, Ni Pollok, Adrien-Jean La Mayeur, Chen Chong Swee, Chen Wen Hsi, 1952. Courtesy of Liu Kang Family. iu Kang (1911–2004), Chen Wen Hsi (1906–1991), Cheong Soo Pieng (1917–83), and Chen Chong Swee (1910–1986) are four Limportant early artists of Singapore. They were born in China and emigrated to what was then called Malaya before the founding of the People’s Republic of China.1 In 1952, these four members of the Chinese diaspora went to Bali for a painting trip. Struck by the vibrant scenery and exoticism of Balinese culture, on their return they produced from their sketches a significant amount of artwork that portrayed the primitive and pastoral Bali in a modernist style, and a group exhibition entitled Pictures from Bali was held a year later at the British Council on Stamford Road in Singapore. This visit has been regarded as a watershed event in Singapore’s art history,2 signifying the birth of the Nanyang style through their processing of Balinese characteristics into a unique “local colour”—an aesthetic referring to a localized culture and identity within the Southeast Asian context. Their Bali experience had great significance, not only for their subsequent artistic development, both as individuals and as a group, but also for the stylistic development of Singaporean artists who succeeded them.3 Vol. 12 No. 5 77 Exhibition of Pictures from Bali, British Council, Singapore, 1953. -
A Process Evaluation of the Mother Tongue-Based Multilingual Education Implementation
JUNE 2019 DISCUSSION PAPER SERIES NO. 2019-06 ‘Starting Where the Children Are’: A Process Evaluation of the Mother Tongue-Based Multilingual Education Implementation Jennifer D. Monje, Aniceto C. Orbeta Jr., Kris A. Francisco-Abrigo, and Erlinda M. Capones The PIDS Discussion Paper Series constitutes studies that are preliminary and subject to further revisions. They are being circulated in a limited number of copies only for purposes of soliciting comments and suggestions for further refinements. The studies under the Series are unedited and unreviewed. The views and opinions expressed are those of the author(s) and do not necessarily reflect those of the Institute. Not for quotation without permission from the author(s) and the Institute. CONTACT US: RESEARCH INFORMATION DEPARTMENT Philippine Institute for Development Studies [email protected] 18th Floor, Three Cyberpod Centris - North Tower https://www.pids.gov.ph EDSA corner Quezon Avenue, Quezon City, Philippines (+632) 372-1291/(+632) 372-1292 ‘Starting Where the Children Are’: A Process Evaluation of the Mother Tongue-Based Multilingual Education Implementation Jennifer D. Monje, Aniceto C. Orbeta Jr., Kris A. Francisco-Abrigo, and Erlinda M. Capones PHILIPPINE INSTITUTE FOR DEVELOPMENT STUDIES June 2019 Abstract The primary rationale of the Mother Tongue-Based Multilingual Education (MTB-MLE) program is to begin where the children are, which means building up on what children already know. It is designed to implement a learner-centered education from the beginning of the education ladder. The MTB-MLE policy may be said to be in its infancy in terms of official implementation, but it has had a long and unrecognized history in Philippine education. -
Pouring Her All Into Dancing with Stone
| TUESDAY,JUNE 25,2019 | THESTRAITS TIMES | arts life D3 Han Sai Por fell in love with the purity of a type Pouring of white stone called han bai yu, which she discovered about 10 years ago in China and uses it to create some of her new her all into works. ST PHOTO: dancing SHINTARO TAY with stone While she finds painting more relaxing, artist Han Sai Por respects the demands of sculpting, channelling her physical energy into her works Ong Sor Fern distraction of colour.” Senior Culture Correspondent The paintings, fluid with move- ment, were inspired by her observa- tions of the effect of wind in forests Cataract surgery two months ago and the power of typhoon storms in did not slow down sculptor Han Sai southern China, where she often Por. Despite the doctor’s advice to travels to for work. avoid heavy lifting, she was deep “When the wind blows, you can into preparations for her new solo see the movement of the wind in exhibition. the trees. It creates energy and Dance With The Wind, which movement and gives life to the for- opens at iPreciation on July 5, does est.” not have the monumental stone She enjoys the process of paint- works Han is known for. But it does ing much more than sculpting. have more than 10 sculptures and “With sculpting, there is the cut- 12 acrylic on canvas works. Prices ting, noise, dust and sweat. With start at $30,000. painting, you can sit with a fan, sit The 76-year-old Cultural Medal- back on a sofa. -
Singapore Shorts: "Whatever Happened to the Class of 2002?"
Singapore Shorts: "Whatever happened to The Class Of 2002?" Ben Slater reviews a compilation of Singapore short films, and comments on the past and current crop of short-film makers in Singapore Rewind It was April 2002. The Singapore International Film Festival (SIFF) was raging on like a small war against mediocrity. Fresh from England, feeling self-conscious in sandals, I managed to secure a press pass, and attended jury screenings at the SIFF. After each session, everyone would pile into a people-mover vehicle to head for the obligatory nasi padang - Malay food - at the Rendez-Vous Hotel, whose manager is a film fan who supports the festival every year with this culinary kindness. Philip Cheah, the festival director, would offer me a place in the van, but I would decline. Not totally out of shyness, but I was busy, rehearsing a play in Little India, and couldn't dally with cinephiles, much as I wanted to. One morning, we were at the Alliance Francaise for the local shorts competition screening. What were my expectations? Not high, I suppose. Cheah had told me that in previous years, juries had been so underwhelmed by the quality of the films that they refused to give out all the prizes. My only previous experience of short films from Singapore had been a fairly disastrous screening of student work at the Substation (a local arts centre); the documentaries were passable tertiary fare, but any attempt at fiction clunked hard. The Alliance was a fairly large hall, with a few hundred seats. The jury sat on the back row. -
Inequality of Opportunities Among Ethnic Groups in the Philippines Celia M
Philippine Institute for Development Studies Surian sa mga Pag-aaral Pangkaunlaran ng Pilipinas Inequality of Opportunities Among Ethnic Groups in the Philippines Celia M. Reyes, Christian D. Mina and Ronina D. Asis DISCUSSION PAPER SERIES NO. 2017-42 The PIDS Discussion Paper Series constitutes studies that are preliminary and subject to further revisions. They are being circulated in a limited number of copies only for purposes of soliciting comments and suggestions for further refinements. The studies under the Series are unedited and unreviewed. The views and opinions expressed are those of the author(s) and do not necessarily reflect those of the Institute. Not for quotation without permission from the author(s) and the Institute. December 2017 For comments, suggestions or further inquiries please contact: The Research Information Department, Philippine Institute for Development Studies 18th Floor, Three Cyberpod Centris – North Tower, EDSA corner Quezon Avenue, 1100 Quezon City, Philippines Tel Nos: (63-2) 3721291 and 3721292; E-mail: [email protected] Or visit our website at https://www.pids.gov.ph Inequality of opportunities among ethnic groups in the Philippines Celia M. Reyes, Christian D. Mina and Ronina D. Asis. Abstract This paper contributes to the scant body of literature on inequalities among and within ethnic groups in the Philippines by examining both the vertical and horizontal measures in terms of opportunities in accessing basic services such as education, electricity, safe water, and sanitation. The study also provides a glimpse of the patterns of inequality in Mindanao. The results show that there are significant inequalities in opportunities in accessing basic services within and among ethnic groups in the Philippines. -
2016-17 Year-In-Review
Table of Contents YIR 2016/17 / - Message from the President 4 Cutting Edge 6 Awards 16 Highlights 30 Industry 38 Community 46 Alumni 52 The LASALLE Show 2017 62 Convocation 2016 82 ICA Singapore 88 Benefactors of the College 97 LASALLE Board and Management 98 Year in Review 2016/17 Among this year’s numerous memorable events was world-renowned designer Karim Rashid’s inspiring Public Lecture; two cutting-edge Singapore Biennale 2016 Affiliate exhibitions, the group show The World Precedes the Eye and Boedi Widjaja’s Black—Hut; and performances celebrating the strong historic links between Ireland and Singapore, in partnership with the Ireland Funds Singapore. LASALLE’s second collaboration with the Singapore International Festival of the Arts was an exceptional performance devised by our students and the legendary Bill T Jones/Arnie Zane Dance Company, which brought much critical acclaim, and a tear to the eye. Important new collaborations LASALLE’s continual aspiration to At the same time, LASALLE has with industry and government evolve and excel is also evident in a increased its number of SkillsFuture organisations included WritersLab, new academic structure. We have reduced approved short courses for the public in partnership with the Info- the number of Faculties from five and continued to deepen community communications Media Development to three, creating eight new Schools engagement. High profile community Authority. This ten-week project within them; and introduced a new activities included a magnificent supported eight budding local cross-institutional position of Dean of series of giant murals and projections professional screenwriters to Teaching, Learning and Research.