Negotiating Identity in Tang Da Wu's
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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. -
CHNG SEOK TIN Born 1946, Singapore
CHNG SEOK TIN Born 1946, Singapore ARTIST STATEMENT A 1972 graduate in Western Painting from the Nanyang Academy of Fine Arts, Chng earned her Bachelor of Fine Arts (Honours) at Hull, UK in 1979, Master of Arts in 1983 from New Mexico State University, Las Cruces, USA and Master of Fine Arts from the University of Iowa, USA in 1985. Chng is also the recipient of the Lee Foundation Study Awards from 1976-1979, the Cultural Foundation Award for postgraduate studies at Hornsey College of Arts from the Ministry of Culture in 1980 and recently, Woman of the Year Award in 2001. SOLO EXHIBITIONS 2014 Gather & Disperse, Art-2 Gallery, Singapore Once Upon A Time, NUSS Guild House, Singapore 2011 Uncommon Wisdom, Nanyang Academy of Fine Arts, Singapore 2008 Before & After… , Tainan County Cultural Center, Taiwan 2007 Wonders of Golden Needles, Jendela Gallery, Esplanade-Theatres by the Bay, Singapore Passion for Art – 35 Years of Works by Visual Artist Chng Seok Tin, Museum of Fine Arts (Cultural Affairs Bureau of Hsinchu County) and the Cultural Affairs Bureau of Kinmen County, Taiwan 2006 Evolution of Kim-chiam: From Dried Lily Bud to Rolling Red Dust, Telok Kurau Studios Gallery, Singapore 2005 Reflections of Paris, Orita.Sinclair.Int’l – Front Room Gallery, Singapore Passage to… , UN Secretariat South Lounge, New York, USA Blossoming of the Pomegranate, p-10, Singapore 2004 Sound of Vermont, Art-2 Gallery, Singapore 2003 Frames, within and without, Utterly Art Gallery, Singapore 2001 Attachments and Detachments: A Chinese Obsession, Gallery Evason Hotel, Singapore Life, Like Chess, Sculpture Square, Singapore 1996 Metamorphosis, Singapore Festival of Arts 1996, Fort Canning Arts Centre, Singapore 1994 Life, Cosmos Gallery, Hong Kong 1993 Games, National Museum Art Gallery, Singapore 1992 Games, d.p. -
World, the Interdisciplinary Arts and the Community: an Interview with the Artistic Director of the Substation – a Home for the Arts
The ‘Real’ World, the Interdisciplinary Arts and the Community: An Interview with the Artistic Director of The Substation – A Home for the Arts Noor Effendy Ibrahim, interviewed by C. J. W.-L. Wee What would you say are the present central goals of the historically first independent Singapore art centre, The Substation – A Home for the Arts? I have been Artistic Director of The Substation since February 2010. The key goal is clear: to continue and develop the legacy of this centre1 through artistic strategies and methods that are sensitive to and aware of the current and immediate cultural, political and economic contexts that exist. The Substation aims to provide a rigorous and safe space for the development and research into art practices that have a primarily interdisciplinary orientation – in short, the aim is to be a venue where dialogues occur and artistic curation and creation can transpire. It is apparent, though, that the physical infrastructure of The Substation is ageing, and that sufficient funding is also another key concern. So, a major issue is the re-thinking of how to make the available resources within The Substation itself good enough such that challenging artwork is possible, and so that the imagination of the larger arts community – the larger public, government agencies and possible funders – can be fired up to comprehend our commitment to interdisciplinary arts creation at The Substation, whatever the limitations and constraints of the moment. A particular challenge that we are face today lies in the education, the nurturing and the sustaining of critically informed and engaged audiences who will not be fearful of the artistic experimentation and exploration that form the backbone of interdisciplinary practice. -
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. -
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. -
Annex 2 – Artist's Biography Tang Da Wu Born 1943, Singapore
Annex 2 – Artist’s Biography Tang Da Wu Born 1943, Singapore Education 1985 Master of Fine Art, Goldsmiths College, University of London, United Kingdom 1974 – 1975 Advanced Studies in Sculpture, Saint Martin’s School of Art (now Central Saint Martins), United Kingdom 1974 Bachelor of Fine Arts, School of Fine Art, Birmingham Polytechnic (now Birmingham Institute of Art and Design), United Kingdom Teaching Experience 2000 – Part-time Lecturer, National Institute of Education, Nanyang Technological University, Singapore 1988 – 1990 Part-time Lecturer, Fine Arts Department, Nanyang Academy of Fine Arts, Singapore Part-time Lecturer, Fine Arts Department, LASALLE College of the Arts, Singapore 1983 – 1987 Part-time Lecturer, Ravensbourne School of Art, United Kingdom 1982 – 1987 Part-time Lecturer, Putney School of Art, United Kingdom 1981 – 1983 Part-time Lecturer, Bath Academy of Art, United Kingdom Part-time Lecturer, Chelsea School of Art, United Kingdom 1980 – 1986 Part-time Lecturer, City Literary Institute, United Kingdom Selected Solo Exhibitions and Performances 2017 Hak Tai’s Bow, Brother’s Pool and Our Children: Tang Da Wu, The Ngee Ann Kongsi Galleries 1 & 2, Nanyang Academy of Fine Arts 2016 Earth Work 1979, National Gallery Singapore, Singapore 2013 Situationist Bon Gun, Institute of Contemporary Arts Singapore, Singapore 2011 Jaga Anak Baik-baik, Goodman Arts Centre Gallery, Singapore 2011 First Arts Council, Goodman Arts Centre, Singapore 2010 Future of Imagination ’06, Sculpture Square, Singapore 2006 Tang Da Wu: Heroes, -
Biography of Artist-Writer-Lyricist Hyphenate
Name CHNG SEOK TIN Occupation Artist, Writer, Songwriter Birth Place Singapore Gender Female Citizenship Singapore Citizen Studio Address Studio 110, 91 Lorong J, Telok Kurau Road, Singapore 425985 Email [email protected] Homepage www.chngseoktin.com Biography of Artist-Writer-Lyricist Hyphenate Chng Seok Tin did her studies in art in Singapore, UK, France and USA, from 1971 to 1985; she obtained two master degrees from New Mexico State University and The University of Iowa, in USA, majoring in printmaking. From 1986 onwards, she taught printmaking at tertiary level for a decade in Singapore. Seok Tin never restricts her practice to creating prints; her creative works include drawing, painting, collage, mixed media, textile, photography, ceramic, sculpture and installation. In 1988, she had a fall which resulted in brain abscess a month later. She had to undergo major surgeries from which she emerged with near loss of vision. Thereafter Seok Tin focused more on mixed media and sculptural works. Her works deal with nature, social and human conditions. Seok Tin has held 30 solo exhibitions and participated in more than 120 group exhibitions in Singapore and abroad including Asia, Europe and USA. She was the first artist to receive the Woman of the Year 2001 awarded by Her World magazine, Singapore. In 2005, she was awarded highest artistic honour, the Cultural Medallion by the President, Singapore. In 2014, she was inducted into Singapore Women’s Hall of Fame in its inaugural year. As a writer, Seok Tin is also an established writer, her articles have appeared in the national Chinese newspaper and magazines since 1975 in Asia and China. -
Yishu Art Editions
SEPTEMBER/OCTO B E R 2 0 1 4 V O LUME 13, NUMBER 5 INSI DE Private Museums in China: Long Museum, Yuz Museum, Xi’an Art Museum Exhibitions: Altenatives to Ritual, Moderation(s) Artist Features: Paul Wong, Shezad Dawood US$12.00 NT$350.00 PRI NTED IN TA I WAN 6 VOLUME 13, NUMBER 5, SEPTEMBER/OCTOBER 2014 CONTENTS 2 Editor’s Note 13 4 Contributors 6 The Construction of the Yuz Museum Shanghai: Budi Tek in Conversation with Wu Hung 13 Budi Tek, Yuz Fundation, in Conversation with Qiu Jiahe 20 The Inner Trappings of a Dragon: Long Museum, 43 Shanghai Julie Chun 29 A New Model Exemplifies the Art Museum Boom in China: Yang Chao in Conversation with Zheng Shengtian 43 A Reflective Turn in Exhibition-Making: On Alternatives to Ritual Julia Gwendolyn Schneider 58 53 Moderation(s): An Introduction Defne Ayas 58 Moderation(s): Speaking in Parentheses Christina Li 71 The Social Architecture of “Situations”: Heman Chong in Conversation with Lee Ambrozy 85 Pure Disruption: Sex, Death, and Postcolonial 85 Identity in Paul Wong’s Video Art Alex Quicho 93 Quantum Anthropology: Shezad Dawood in Conversation with Stephanie Bailey 106 Chinese Name Index 93 Cover: Xu Bing, Square Word Calligraphy, 1999, fabric banner, at Long Museum West Bund, Shanghai. Photo: Ruth Thompson. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. Vol. 13 No. 5 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C.