M.A. Unbound 2017
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Introducing the Museum Roundtable
P. 2 P. 3 Introducing the Hello! Museum Roundtable Singapore has a whole bunch of museums you might not have heard The Museum Roundtable (MR) is a network formed by of and that’s one of the things we the National Heritage Board to support Singapore’s museum-going culture. We believe in the development hope to change with this guide. of a museum community which includes audience, museum practitioners and emerging professionals. We focus on supporting the training of people who work in We’ve featured the (over 50) museums and connecting our members to encourage members of Singapore’s Museum discussion, collaboration and partnership. Roundtable and also what you Our members comprise over 50 public and private can get up to in and around them. museums and galleries spanning the subjects of history and culture, art and design, defence and technology In doing so, we hope to help you and natural science. With them, we hope to build a ILoveMuseums plan a great day out that includes community that champions the role and importance of museums in society. a museum, perhaps even one that you’ve never visited before. Go on, they might surprise you. International Museum Day #museumday “Museums are important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples.” — International Council of Museums (ICOM) On (and around) 18 May each year, the world museum community commemorates International Museum Day (IMD), established in 1977 to spread the word about the icom.museum role of museums in society. Be a part of the celebrations – look out for local IMD events, head to a museum to relax, learn and explore. -
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. -
Artist Biography
Artist Donna ONG ⺩美清 Born Singapore Works Singapore Artist Biography __________________ ___________________________________________________________________________________ Year Education 2011 - 2012 MA Fine Arts, LASALLE College of the Arts, Singapore 2003 BA (Hons) Fine Art, Goldsmiths College, University of London, UK 1999 B.Sc. Architecture Bartlett Centre, University College London (UCL), UK __________________ ___________________________________________________________________________________ Year Selected Exhibitions 2017 Singapore: Inside Out Sydney, The Old Clare Hotel, Sydney, Australia After Utopia: Revisiting the Ideal in Asian Contemporary Art, Anne and Gordon Samstag Museum of Art, Adelaide, Australia The Tree as An Art Object, Wälderhaus Museum, Hamburg, Germany Art Stage Jakarta, FOST Gallery, Indonesia Art Stage Singapore, FOST Gallery, Singapore 2016 The Sharing Game: Exchange in Culture and Society, Kulturesymposium Weimar 2016, Galerie Eigenheim, Weimar, Germany For An Image, Faster Than Light, Yinchuan Biennale 2016, MoCA Yinchuan, China Five Trees Make A Forest, NUS Museum, Singapore* My Forest Has No Name, FOST Gallery, Singapore* 2015 After Utopia, Singapore Art Museum, Singapore The Mechanical Corps, Hartware MedienKunstVerein, Dortmund, Germany Prudential Eye Awards, ArtScience Museum, Singapore Prudential Singapore Eye, ArtScience Museum, Singapore 2014 Da Vinci: Shaping the Future, ArtScience Museum, Singapore Modern Love, Institute of Contemporary Arts Singapore, Singapore Bright S’pore(s), Primo Marella Gallery, -
Island 6 Art Collective
BOB SICK YUDHITA AGUNG Education 1991 - 1998 ISI, Yogyakarta, Indonesia “Speak Off”, organized by JogjaNews.Com, Jogja National Museum, Yogyakarta Solo Exhibition : 2010 “Power Wagon”, Jogja National Museum, Yogyakarta 2012 “I’m a Living Legend”, Srisasanti Gallery, Yogyakarta “Reach for the HeART – A Beginning”, Sin Sin Annex, Hong Kong “I’m a Living Legend”, Galeri Nasional Indonesia (Indonesian “Romansa 9satu”, Sankring Gallery, Yogyakarta National Gallery), Jakarta “Gusdurisme”, Langgeng Gallery, Magelang 2010 “Bobvarium”, Srisasanti Arthouse, Jakarta “Transfiguration”, Semarang Contemporary Art Gallery, Jakarta 2008 “Life is Beautiful”, Sin Sin Fine Art, Hong Kong Art District, Grand Indonesia, Jakarta “Sick Project”, Galeri Semarang, Semarang “Space & Images”, Ciputra World, Jakarta 2007 “Happy Birthday NIN”, Jogja National Museum, Yogyakarta 2009 “Borderless World”, organized by Srisasanti Gallery, Taman 2005 “New Kid on the Block”, Museum dan Tanah Liat, Yogyakarta Budaya Yogyakarta 2004 “Di Bawah Pohon Ketepang Di Atas Springbed”, Kedai Kebun “Hi June”, duo exhibition, Taman Budaya Yogyakarta, Forum, Yogyakarta Yogyakarta 2002 “Aku Cinta Bapakku”, LIP Yogyakarta, Yogyakarta “Reach For The Heart”, Sin-Sin Fine Art, Hong Kong 2001 “Sick Is Bliss”, Kedai Kebun Forum, Yogyakarta “In Rainbow”, Esa Sampoerna Art House, Surabaya 2000 “Meraih Kemenangan”, Millenium Gallery, Jakarta “Pesta Gagasan”, Arslonga Rumah Seni, Yogyakarta “Friendship Code”, Syang Gallery, Magelang, Central Java Group exhibition (selected): “Reform”, organized -
Keith Haring - the Journey of a Steve Chua Graffiti Artist 38 Information the Legend of Lichtenstein 44 out in the Streets
ISSUE 16 | FEB 2011 FEBRUARY 2011 / 1 Yisulang-Confabu Mar 2011 1/15/11 9:37 AM Page 1 C M Y CM MY CY CMY K 2 / THE POCKET ARTS GUIDE Composite C M Y CM MY CY CMY K FEBRUARY 2011 / 3 CONTENTS 12 34 17 13 C M Y 24 26 44 CM MY 12 COMING UP 17 SPOTLIGHT 50 INTERVIEW CY LAND-TA-MORPHOSIS — Artist in Focus - Farhad Hussain An Interview — What the CMY Second of the Trilogy: Castle :Phunk? Beyond a Mountain 12 K Dorit Feldman: A Solo Exhibition by Art Facet Glimpses: A Solo Exhibition by 26 COVER STORY 61 SINGAPORE BenCab ART MAP The Window Project 13 Pop! Back into the Future with Burton Morris Will Siber: Sculpture, Wall Object & Painting Solo Exhibition By Seah Kang Chui 不变 50 年 Unchanged For 50 64 DIRECTORIES Years 14 34 FEATURES Singapore Art Galleries Other Listings ‘No si hijomiono’o jabesi soré Gurerro Habulan – jajivo’ The Warrior of pop! 34 Tourist Spots Malaysia Art Guide Limelight Blossoms by Keith Haring - The Journey of a Steve Chua Graffiti artist 38 InFORMATION The Legend of Lichtenstein 44 Out in the Streets 4 / THE POCKET ARTS GUIDE C M Y CM MY CY CMY K FEBRUARY 2011 / 5 CONTENTS SPOTLIGHT INTERVIEW SINGAPORE ART MAP 6 / THE POCKET ARTS GUIDE C M Y CM MY CY CMY K FEBRUARY 2011 / 7 Issue #16 (February 2011) ISSN 1793-9739 / MICA (P) 252/09/2010 www.thepocketartsguide.com On the Cover Burton Morris Poparazzi Acrylic on canvas 91.4 x 91.4cm Editor-in-Chief Remo Notarianni / [email protected] Guest Editor Saskia Joosse / [email protected] Art Director Amalina MN / [email protected] Contributors Bharti Lalwani Advertising Sales [email protected] General enquiries and feedback [email protected] Submission of press releases [email protected] THE POCKET ARTS GUIDE PTE LTD (TPAG) 215 Henderson Road, #03-03, Henderson Industrial Park Singapore 048545 For advertising enquiries, please email [email protected]. -
Artists Imagine a Nation
ARTISTS IMAGINE A NATION Abdullah Ariff Boo Sze Yang Chen Cheng Mei (aka Tan Seah Boey) Chen Shou Soo Chen Wen Hsi Cheong Soo Pieng Chia Yu Chian Chng Seok Tin Choo Keng Kwang Chuah Thean Teng Chua Mia Tee Foo Chee San Ho Khay Beng Khaw Sia Koeh Sia Yong Kuo Ju Ping Lee Boon Wang Lee Cheng Yong Lim Mu Hue Lim Tze Peng Mohammad Din Mohammad Ng Eng Teng Ong Kim Seng Tumadi Patri Phua Cheng Phue Anthony Poon Seah Kim Joo Tang Da Wu Tay Bak Koi Tay Boon Pin Teo Eng Seng Tong Chin Sye Wee Beng Chong Wong Shih Yaw Yeh Chi Wei Yong Mun Sen Contents Foreword Bala Starr 8 Pictures of people and places Teo Hui Min 13 Catalogue of works 115 Brief artists’ biographies 121 Acknowledgements 135 Foreword Works of art are much more than simple collectables or trophies, in the A work of art maintains its status as a speculative object well past the date same way that history is more than a compilation of triumphal stories or nostalgic the artist considered it ‘finished’ or resolved, and in fact meanings might never reflections. Histories build and change through their own telling. The works in actually fix or settle. What we identify ascontemporary is as much about a process this exhibition, Artists imagine a nation, record individual artists’ perceptions, of looking back and re-evaluating the practices and insights of those who have experiences and thinking, and document their aspirations for their communities travelled before us as it is about constantly seeking the new. -
Homage to Tradition (Hong Kong, 13-15 Dec 12)
Homage to Tradition (Hong Kong, 13-15 Dec 12) Chinese University of Hong Kong, Dec 13–15, 2012 Chia-Ling Yang, University of Edinburgh Homage to Tradition A Symposium on East Asian Art in Honour of Professor Roderick Whitfield Chinese University of Hong Kong, 13th-15th December 2012 This symposium and a related festschrift publication to follow will include papers by Professor Whitfield’s students and colleagues. Both will honour Roderick Whitfield’s excellent scholarship, his unwavering support and teaching to his students, and his significant contribution to the field of Asian art history and archaeology. The main theme of this symposium, ‘Homage to Tradition,’ pays respect to Roderick Whitfield’s tireless exploration of China’s past and his numerous publications in search of beauty and truth. Many of Roderick Whitfield’s students are playing leading roles in Chinese art history, architecture and archaeology, in academia, museums, in publishing and the commercial sector. We hope all of us will present new research relating to the ways of appreciating art and cultural relics, linking art history with a multitude of other disciplines, including religion, anthropology, architecture, literature, political and social history, language, and translation theory. 13 December, 13.00-17.30 Session 1 Paradigm - Meihua Shao (Tree Valley Foundation, CIST Centre, Taiwan), The Manufacture of Neolithic Nephrite and Stone Yue Axes from the Liangzhu Burial Mounds in Southeast China - Jenny Chao-Hui Liu (Cambridge History of China, Princeton University), -
A Story of Singapore Art
artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style. -
Nanyang Style - Singapore's Pioneer Art Movement
Jul 12, 2011 14:35 +08 Nanyang Style - Singapore's Pioneer Art Movement Singapore was known as Nanyang in the late 18th century. Representing South Seas in Chinese, Nanyang was a goldmine for many Chinese immigrants. Art was denied progression during this period of colonial rule. The first nationwide art class was also implemented reluctantly to comply with British examination standards. So what is the Nanyang style? Who are the main artists? This article will attempt to address these questions. According to the definition from Singapore Art Museum, Nanyang style integrates teachings from Western schools of Paris and Chinese painting traditions, depicting local or Southeast Asian subject matters. Most Nanyangpaintings are either Chinese ink or oil on canvas. There was a great influx of Chinese immigrants and the emergence of Nanyang style was in response to the dichotomy of Chinese nationalism and Southeast Asian regionalism. Colonial rule restricted art development and it was only in the 19th century when the first art society started – The Amateur Drawing Association. While in Kuala Lumpur, United Artists Malaysia emerged. These societies imparted mainly Chinese influences in the Nanyang style. As global economies were recovering from Great Depression, artists of the Nanyang style were benefiting from extra exposure from art trends in Europe and China. The establishment of Society of Chinese Artists in 1935 had members who were not only alumni of Chinese art academies but were also avid fans of western art. The need to craft a unique identity was stronger after World War II, amidst growing anti-colonial sentiments. Founding artists wanted to portray Nanyang culture in a visually unique flavour. -
Siam's Old Singapore Ties
Siam’s Old Singapore Ties Vitthya Vejjajiva Introduction This article is an abridged and edited version of a longer article that was prepared for a commemorative publication for the inauguration of the new premises of the Thai Embassy in Singapore.1 It is by no means meant as an academic article— indeed, although I use the word “old”, I am referring to the ties, not Singapore itself, which has had certain “connections” with Siam under King Ramkhamhaeng and down the ages—but has been prepared as a “reminder” of Singapore’s continuous and close association with the kings and people of Siam for well over a century. It was thus envisioned as a non-scholarly and basically descriptive article. That said, I hope to remind readers that the advent of “old” Singapore, dating from 1819, proved to be a momentous event for Siam, for it had the effect of changing the traditional pattern of Siam’s trade, henceforth to be characterized by the fast-growing junk trade between Chinese merchants in Siam and their counterparts in Singapore. I. First contact The first Siamese-Singapore direct contact occurred in April 1821, barely two years after the founding of Singapore by Sir Stamford Raffles. A mission led by John Morgan, an English merchant resident in Singapore, was entrusted with a letter addressed to the King of Siam, in which Colonel William Farquhar, Resident of Singapore, informed the King of the “new Establishment the British Government has formed here” and expressed the hope for future commercial ties.2 The emissary was generally well received in Bangkok. -
Printed from Straitstimes.Com
Printed from straitstimes.com « Return to article Print this The Straits Times www.straitstimes.com Published on May 19, 2011 Painting with old cloth Artist Ho Chee Lick uses old pillowcases to apply ink to rice paper By corrie tan When his wife throws out old pillowcases, this artist tells her not to. That is because Dr Ho Chee Lick, 60, has turned to using pieces of cloth to apply ink to rice paper in his Chinese ink paintings, and those pillowcases have come in handy. Dr Ho, who is a senior lecturer in the National University of Singapore's Department of Chinese Studies, says: 'I'm a bit naughty. I don't want to stick to the same methods. There are 10,000 ways to use a piece of cloth. Every picture I did, I asked myself, how can I do it differently the next time?' His 26 large, abstract ink works can be seen at Art Retreat Museum till Aug 13 in an exhibition titled Sequenza, named after an Italian musical term for a collection of virtuoso pieces. Prices start at $10,000. Art Retreat executive director Teo Han Wue, 65, who co-curated the show, says: 'In this exhibition, Dr Ho is doing a sort of sequenza in painting. His medium is like a solo instrument.' One of Ho's four-panel works reflects the four movements of a symphony, inspired by Chinese composer Xian Xinghai's Yellow River Cantata (1939). Layers of Chinese ink bleed into rice paper, leaving feathery strokes and delicate monochromatic hues in their wake.