ORGANISED BY

COMMISSIONED BY

SUPPORTED BY SINGAPORE 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 /NETHERLANDS MYANMAR SOUTH KOREA/UNITED STATES/ AZIZAN PAIMAN 41 JIAO XINGTAO 59 MALAYSIA CHINA ADEELA SULEMAN 49 RATHIN BARMAN 51 SAKARIN KRUE-ON 61 THAILAND MELATI SURYODARMO 23 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/ SINGAPORE/UNITED KINGDOM CHIA CHUYIA 41 MALAYSIA/SWEDEN LIM SOO NGEE 20 MELISSA TAN 42 PAKISTAN SINGAPORE SINGAPORE CHOU SHIH HSIUNG 29 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 55 SINGAPORE/UNITED KINGDOM MUNEM WASIF 42 RYAN VILLAMAEL 36

BANGLADESH PHILIPPINES PAGE 3 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 37 SINGAPORE ARAYA RASDJARMREARNSOOK 36 ZULKIFLE MAHMOD 24 INDONESIA JAVA FLORES SEA SEA THAILAND SINGAPORE AGAN HARAHAP 32 INDONESIA S. CHANDRASEKARAN 46 SINGAPORE

TIMOR SEA CONTENTS

INTRODUCTION 2 VENUES EVENTS 62

MESSAGES 4 SINGAPORE 16 SCHOOL PROGRAMMES 66 TROPIC OF CAPRICORN SAM AT 8Q 38 CURATORIAL TEAM 7 AFFILIATE PROJECTS 68 & ORGANISER NATIONAL MUSEUM 52 OF SINGAPORE PARALLEL PROJECTS 70 PRECINCT MAP 8 & STAMFORD GREEN 56 PROMOTIONS & SPECIALS 79 VISITOR & VENUE INFORMATION 10 ASIAN CIVILISATIONS MUSEUM 58 ACKNOWLEDGEMENTS 80 NINE CONCEPTUAL ZONES 12 SINGAPORE MANAGEMENT 60 UNIVERSITY CREDITS 82 OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE 2016 BIENNALE 2016

FROM WHERE WE ARE, HOW DO WE PICTURE THE WORLD — AND OURSELVES?

In charting our way around the world, humankind has relied on instruments of vision as well as navigation. Atlases map and mirror our journeys of discovery and often make visible more than just physical terrain; driven by our needs and desires, they embolden us to venture into the unknown.

From our coordinates in Southeast Asia, the arc of our shared histories encompasses East and South Asia. 000 8 8 000 These regions bear the imprints of one another’s diverse cultures, even as boundaries are also constantly reimagined. Fraught and unstable, N N ACM ACM

PAGE 4 these borders are characterised by fluid movement PAGE 5 and migration which also reflect pre-state national entities, and highlight the challenges that beset contemporary conditions.

Where navigational tools enable us to set our sights further afield, one instrument in particular – the mirror – brings us into that which is still so mysterious: the self. While we depend on mirrors to show us to ourselves, their reflective surfaces are not always reliable for they echo, skew, magnify and invert.

How will a coupling of atlas and mirror shape the way in which we view the world? Through a constellation of artistic perspectives which trace our intertwining relationships, An Atlas of Mirrors positions Southeast Asia as a vantage point from which to picture our world anew.

AN ATLAS OF MIRRORS — AT ONCE, MANY WORLDS. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

MESSAGES

JANE ITTOGI KATHY LAI CHAIR, CEO, NATIONAL ARTS COUNCIL, SINGAPORE CO-CHAIR, SINGAPORE BIENNALE 2016 ADVISORY COMMITTEE COMMISSIONER, SINGAPORE BIENNALE 2016 CO-CHAIR, SINGAPORE BIENNALE 2016 ADVISORY COMMITTEE

Singapore Biennale 2016, centred on I also thank my Co-Chair, Kathy Lai and The fifth edition of the Singapore Biennale Beyond the Biennale, the team of Southeast Asia, investigates the intangible the members of the Singapore Biennale marks a decade-long journey of establishing has also partnered with other art wells of identity and nationhood and other Advisory Committee* who together made itself as Singapore’s pre-eminent showcase organisations, galleries and individual states of invisibility in the make-up of rich our peregrinations and focus, illuminated of . Today, the Biennale for them to present a wide array of affiliated the region’s histories and cultures. Titled by T.K. Sabapathy – our ever glowing and is a much-anticipated event that inspires and parallel shows. These shows will provide ‘An Atlas of Mirrors’, this Biennale’s vantage indispensable Singapore art historian and art meaningful dialogue and exchange of ideas interesting counterpoints or elaborations in points are East Asia, South Asia, and thinker. I am most grateful to the National between art communities in our region. response to the Biennale. Southeast Asia, and stellar artworks were Arts Council and our Ministry, Ministry of We are happy that it has become a critical selected or commissioned by an organising Culture, Community and Youth, for much platform for the unique practices, concerns On behalf of the National Arts Council, curatorial mind, working like a navigational support extended to enable making this and perspectives of artists from Southeast I would like to take this opportunity to tool that maps and mirrors regions within Biennale significant. Asia, and acts as a springboard for featured congratulate the Singapore Art Museum and around us. artists to be noticed and invited to other for bringing to us another outstanding global platforms. display of art from our region. I would like Artists from across Asia, from Bangladesh to extend our appreciation to the curators, and Brunei, Cambodia and China, to * Singapore Biennale 2016 Advisory Committee: As the leading contemporary art institution participating artists and everyone involved Singapore and South Korea conjure visual Ahmad Mashadi, Head and Senior Associate Director, in Singapore, the Singapore Art Museum is for their commitment and contribution NUS Museum; Professor Chua Beng Huat, Provost Chair worlds where the real, surreal, abstract Professor, Faculty of Arts and Social Sciences, National in the best position to work collaboratively towards shaping Singapore as a city where and imaginary migrate and intertwine, University of Singapore; Huzir Sulaiman, Creative with curators from Malaysia, Singapore, you can see great art. PAGE 6 PAGE 7 and each communicates – from vastly Director, Studio Wong Huzir and Joint Artistic Director, China and India to harness their different Checkpoint Theatre; Assistant Professor Michelle Lim, different perspectives and national locations School of Art, Design and Media, Nanyang Technological perspectives. With the theme of ‘An Atlas and by different media – similar yearnings: University; Teh Joo Heng, Principal, Teh Joo Heng of Mirrors’, this edition of the Biennale will for something better, more humanity. Architects; June Yap, Independent ; Yeo Whee Jim, give us a glimpse of this region’s historical Director (Arts & Heritage), Ministry of Culture, Community and Youth Low Eng Teong, Director, Sector Development and contemporary relationships with each The viewer is challenged to explore (), National Arts Council; and Paul Tan, Deputy other, and with the larger ambit of East CEO, National Arts Council. contemporary presentations of notions, and South Asia. some unsettled and unsettling, of place, past, present, future, self and community Since 2006, the Singapore Biennale has and hopefully will find inspiration to relook, contributed significantly towards growing rethink and relearn. the interest and appreciation for contemporary art among the Singapore This fifth edition of the Biennale in Singapore public and foreign visitors alike. The Biennale and its wondrous journey would not have offers a range of school programmes and been possible without the special gifts of the outreach activities to enable young imaginative and tireless Creative Director, audiences and the general public to enjoy Dr . The passionate team of the presentation at a deeper level. specially appointed Associate Curators – Suman Gopinath from Bangalore; Michael Lee from Singapore; Nur Hanim Khairuddin from Ipoh; and Xiang Liping from Shanghai – and SAM Curators each brought their own whole world to enrich the atlas. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SINGAPORE BIENNALE 2016 MESSAGES CURATORIAL ORGANISER SUSIE LINGHAM TEAM CREATIVE DIRECTOR SINGAPORE BIENNALE 2016

Welcome to ‘An Atlas of Mirrors’, the fifth ‘An Atlas of Mirrors’ will be anchored at the SUSIE LINGHAM The Singapore Art Museum (SAM) is a contemporary CREATIVE DIRECTOR edition of the Singapore Biennale! Singapore Art Museum on Road SINGAPORE BIENNALE 2016 art museum which focuses on art-making and and SAM at 8Q on Queen Street, and the art-thinking in Singapore, Southeast Asia and Asia, Now in its tenth year, the Singapore Biennale, other key venues are the National Museum encompassing a worldwide perspective on since 2006, has been creating dynamic space of Singapore, Stamford Green, Asian Civilisations ANDREA FAM contemporary art practice. ASSISTANT CURATOR for international dialogue on contemporary Museum, de Suantio Gallery at Singapore SINGAPORE ART MUSEUM art, locating artists from Singapore within a Management University and Peranakan Museum. SAM advocates and makes accessible interdisciplinary global context, and encouraging stimulating Over the four-month exhibition, we hope to SUMAN GOPINATH contemporary art through research-led and evolving ASSOCIATE CURATOR conversations and creative work between the encourage deeper public engagement with SINGAPORE BIENNALE 2016 curatorial practice. Since it opened in January 1996, regional and international arts communities. contemporary art through public outreach INDIA SAM has built up one of the most important and education programmes that include collections of contemporary art from the region. LOUIS HO ‘An Atlas of Mirrors’ is the second biennale and curator talks and tours, school visits and CURATOR for which the Singapore Art Museum (SAM) workshops, and community days, as well as SINGAPORE ART MUSEUM It seeks to seed and nourish a stimulating and has been appointed the sole organiser, by a symposium taking place in January 2017. creative space in Singapore through exhibitions MICHAEL LEE the commissioner, the National Arts Council, Do join us if you can! ASSOCIATE CURATOR and public programmes, and to deepen every SINGAPORE BIENNALE 2016 Singapore – the first being ‘If the World Changed’ SINGAPORE visitor’s experience. These include outreach and in 2013. This year, the Singapore Biennale I do hope you will take the time to explore education, research and publications, as well as (SB2016) focuses on contemporary art from and enjoy ‘An Atlas of Mirrors’, as you encounter NUR HANIM cross-disciplinary residencies and exchanges. Southeast Asia, alongside South and East Asia. each of these thoughtful, diverse and unique KHAIRUDDIN PAGE 8 ASSOCIATE CURATOR PAGE 9 With the five SAM curators, it brings together artistic perspectives from South, Southeast SINGAPORE BIENNALE 2016 In 2011, SAM was the venue organiser of the nine curators in total, four of whom were and East Asia. Contemporary art is An Atlas MALAYSIA Singapore Biennale, becoming the main organiser appointed as Associate Curators, and who of Mirrors – and with so many ways of seeing of the 2013 and 2016 editions. hail from India (Bangalore), China (Shanghai), TAN SIULI opening up into how we think, feel and live CURATORIAL CO-HEAD Malaysia (Ipoh) and Singapore. ‘An Atlas of in our times through these specially curated SINGAPORE ART MUSEUM Mirrors’ is crystallised from an intensive and artworks, I hope that we’ll all be able to picture fruitful collaboration, catalysed by invaluable our many worlds anew. JOYCE TOH CURATORIAL CO-HEAD expertise and talent from these regions. SINGAPORE ART MUSEUM To the commissioner, sponsors, partners, This Biennale experience begins with a simple volunteers and friends of contemporary art JOHN TUNG ASSISTANT CURATOR question: From where we are, how do we see who made this Biennale a reality, my deepest SINGAPORE ART MUSEUM the world? Spanning various media, the appreciation. We could not have done this 58 artworks and projects featured in ‘An Atlas without you. XIANG LIPING ASSOCIATE CURATOR of Mirrors’ will be gathered around nine SINGAPORE BIENNALE 2016 CHINA subthemes, or zones, and presented across To the SAM Curators and Associate Curators seven venues. The sub-themes shape the of ‘An Atlas of Mirrors’, together with each and SB2016 as a poetic and reflective experience, every one of the inspirational and creative artists inviting us to share different points of view who are the lifeblood of this meaningful project around subjects ranging from time and space – you have my heartfelt thanks, admiration to story and ahistories; from the Nature/Culture and congratulations. And to the wonderful, divide to cultural legacies and boundaries; committed teams of the Singapore Art Museum from geopolitics to issues on identity and – Exhibitions, Programmes, Marcoms, and the representation; from migratory experiences to unflappable Project Managers: it has been my the margins of history. Artworks located within privilege to have been able to work alongside each subtheme resonate on many levels, and at each and every one of you. You have my the same time coincide, intertwine, and reflect boundless thanks and immeasurable gratitude. each other along the conceptual continuum of ‘An Atlas of Mirrors’ as a whole.

OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PRECINCT P R IN S E P L IN K

SELEGIE ROAD

M ID D L E R O A D

SCHOOL OF MAP DHOBY GHAUT SMU (SOTA) NANYANG CC1 NE6 NS24 ACADEMY OF FINE ARTS O R C H A R D R O A D PLAZA (NAFA) SINGAPURA MACDONALD

HOUSE WATERLOO STREET ISTANA BENCOOOLEN STREET BUGIS PARK RENDEZVOUS DT14 EW12 HOTEL SAM PRINSEP STREETSINGAPORE NATIONAL DESIGN QUEEN STREET CENTRE BUGIS P E N A N G R O A D 8Q JUNCTION INTERCONTINENTAL SINGAPORE

NMS D R O A YMCA I N G N N O R T C A N N I N G C A F R O A D T B A IN S T R E E T O R NATIONAL F LIBRARY

B R A S B A S A H R O A D VICTORIA STREET

P U R V I S S T R E E T C A S H IN S T R E E T

BRAS S T A M F O R D R O A D BASAH S E A H S T R E E T M ID D L E R O A D HOTEL CC2 FORT CANNING GOTHIC CARLTON GATE QUEEN STREET HOTEL NAUMI SALLY FORT FORT CANNING SOUTH BEACH PORT GATE GREEN HOTEL RAFFLES OLD MARRIED HOTEL SOLDIERS QUARTERS PM STAMFORD (OMSQ) GREEN B E A C H R O A D 9-POUND N I N G CANNON NORTH BRIDGE ROAD N P A A R C K CHIJMES T R O F VICTORIA STREET

S T A M F O R D R O A D PAGE 10 PAGE 11 ESPLANADE R A F F L E S B O U L E V NATIONAL ARMENIAN STREET RAFFLES CC3 ARCHIVES CITY FAIRMONT SINGAPORE MALL FORT CANNING FLAGSTAFF SINGAPORE SWISSÔTEL NICOLL HIGHWAY PHILATELIC THE STAMFORD CAPITOL NICOLL HIGHWAY MUSEUM THEATRE R I V E R V A L L E Y R O A D A R D CITY HALL WAR GRAND PARK MEMORIAL CITY HOTEL EW13 NS25 PARK

C O L E M A N S T R E E T

ST. ANDREW’S PENINSULA CATHEDRAL MARINA EXCELSIOR MANDARIN SINGAPORE SINGAPORE RECREATION CLUB C L A R K E OLD HILL STREET POLICE HILL STREET SAM SINGAPORE 8Q SAM AT 8Q Q U A Y H I G H S T R E E T ART MUSEUM RAFFLES AVENUE HILL STREET SUPREME COURT P A D A N G N O R T H B O A T Q U A Y NATIONAL GALLERY

NORTH BRIDGE ROAD SINGAPORE ST ANDREW’S ROAD COLEMAN P A R L I A M E N T P L A C E TAH BRIDGE

CLARKE SUPREME COURT LANE THE QUAY PARLIAMENT CENOTAPH ESPLANADE – CENTRAL OF SINGAPORE NMS NATIONAL PM PERANAKAN THEATRES ON SINGAPORE THE BAY CONNAUGHT DRIVE MUSEUM OF MUSEUM ELGIN CRICKET SINGAPORE BRIDGE ACM CLUB & STAMFORD CLARKE QUAY GREEN NE5 D F A ESPLANADE DRIVE VICTORIA U THEATRE L O

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OBELISK E CIVILISATIONS MANAGEMENT B O A T

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MUSEUM UNIVERSITY S U A F JUBILEE I D SOUTH BRIDGE ROAD N RAFFLES’ BRIDGE LANDING G ANDERSON SITE BRIDGE A

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O R TAH CAVENAGH ESPLANADE DRIVE E BRIDGE JACK TAN, Hearings R 27 to 29 October I V E R OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

VISITOR & VENUE INFORMATION 1.2875° N, 103.8514° E 1.2944° N, 103.8490° E 1.2979° N, 103.8485° E 1.2968° N, 103.8487° E EXHIBITION 1.2973° N, 103.8510° E PERIOD 27 October 2016 to 26 February 2017

OPENING HOURS Saturdays to Thursdays, 10am–6pm Friday, 10am–9pm SINGAPORE NATIONAL MUSEUM ASIAN PERANAKAN DE SUANTIO ART MUSEUM OF SINGAPORE CIVILISATIONS MUSEUM GALLERY – 71 93 Stamford Road MUSEUM 39 Armenian Street SINGAPORE ADMISSION Singapore 189555 Singapore 178897 1 Empress Place Singapore 179941 MANAGEMENT CHARGES UNIVERSITY (65) 6589 9580 (65) 6332 3659 Singapore 179555 (65) 6332 7591 Adult School of Economics/ nationalmuseum.sg (65) 6332 7798 peranakanmuseum.sg Standard $20; SAM AT 8Q School of Social Sciences Singaporean citizens and acm.org.sg 90 Stamford Road 8 Queen Street permanent residents $15; Singapore 188065 Singapore 188535 ACCESS multiple entry pass, ACCESS (65) 6828 1936 PAGE 12 (up to 3 entries) + $3 (65) 6589 9550 ACCESS PAGE 13 smu.edu.sg/campus-information/ singaporeartmuseum.sg Concession BY MRT BY MRT tenants-and-leasing/smu-gallery Students*, senior citizens* Bras Basah, Exit C (5 mins walk) BY MRT Bras Basah, Exit B (10 mins walk) Dhoby Ghaut, Exit A (5 mins walk) (60 years and above), Raffles Place, City Hall, Exit B (15 mins walk) ACCESS City Hall, Exit A (10 mins walk) full-time national servicemen* Exit H (5 mins walk) ACCESS Standard $10; Singapore citizens and permanent residents $7.50; BY MRT BY BUS BY MRT multiple entry pass, Bras Basah, Exit A (2 mins walk) BY BUS Stamford Road: PARKING Bras Basah, Exit C (5 mins walk) (up to 3 entries) + $3 Dhoby Ghaut, Exit A (10 mins walk) – YMCA: SBS: 7, 14, 16, 36, 111, 124, 128, 131, Parking available at the basement City Hall, Exit A (10 mins walk) SBS: 7, 14, 14e, 16, 36, 64, 65, 111, 124, 147, 162, 162M, 166, 174, 175, 190 Children (6 years and under); carpark of New Parliament Bugis, Exit C (10 mins walk) 139, 162, 162M, 174, 174e, 175 SMRT: 77, 106, 167, 171, 700, 700A, 857 persons with disabilities House at Six Battery Road SMRT: 77, 106, 167, 171, 190, 700, 700A, (may be accompanied and at One Fullerton across NR6, NR7 BY BUS by one caregiver) from Fullerton Hotel Orchard Road – YMCA: Free admission SBS: 7, 14, 14e, 16, 36, 64, 65, 190, 111, BY BUS PARKING 124, 128, 139, 162, 162M, 174, 174e, 175 *Valid identification required Bras Basah Road Parking available next SMRT: 77, 106, 167, 171, 700, 700A, SBS: 7, 14, 16, 36, 111, 131, PARKING to Peranakan Museum 850E, 951E, 971E, 972 Family Package 162, 175, 502, 518, Parking available at YMCA, 2 adults + 2 children/ SMRT: 77, 167, 172, 700 Singapore Management University 1 adult + 3 children and Fort Canning Park Standard $52; Singaporean citizens and PARKING permanent residents $36 Parking available at Singapore PARKING Management University and Parking available at For bulk purchases, please email Nanyang Academy of Fine Arts Waterloo Street, Queen Street, [email protected] NTUC Income Centre, Manulife Centre, Hotel Grand Pacific and Singapore For school bookings, please email Management University [email protected] OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

NINE

CONCEPTUAL SMU ZONES SAM 8Q

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SAM SINGAPORE 8Q SAM AT 8Q NMS NATIONAL MUSEUM ART MUSEUM OF SINGAPORE & STAMFORD GREEN

PM PERANAKAN ACM ASIAN SMU SINGAPORE MUSEUM CIVILISATIONS MANAGEMENT MUSEUM UNIVERSITY OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016 NINE

• geometry & geography • myths • cultural & colonial legacies • mirrors & maps • cyclical time • beliefs CONCEPTUAL • space & place • ahistorical realities • collective memory

Space and place are explored Contemplating cyclical time Retrospection reveals the and glimpsed through brings insight into how myths present as a thoroughfare ZONES mirrors and cartography, influence human conditioning; where all realms coincide conjuring symmetrical and when, and why, story tells more and are mirrored – where the asymmetrical parallel worlds than history; and our lives personal nudges collective where the real, surreal, abstract amidst timespans of elemental memory, the seen implies the and imaginary overlap. substances that transcend unseen, and legacy evokes human measure. loss and forgetting. The main title of the Singapore Biennale 2016 is woven through nine ‘conceptual zones’, or subthemes, which locate each artwork in particular curatorial contexts. These zones shape the flow of the Biennale experience, 000 8 like chapters in a book or sections in a poem. Like the title – ‘An Atlas of Mirrors’ – which is • Nature, Cultured • nation & geopolitics • agency & the limits of representation built on the relationship between a collective • simulacra & the real • cultural boundaries • sites & voices of resistance • stewardship of the Earth • shared histories • self & other

N noun (‘an atlas’ as the collective noun) and what ACM

PAGE 16 is being thought of collectively (‘mirrors’), these Mirroring the dialectical Walls and boundaries bear Encountering injustice, selves PAGE 17 zones are conceptually themed along specific relationship between Nature witness that overlapping resist, sometimes acting on and Culture, Art evolves territories are strategically behalf of others, often at collective nouns and what they hold together for from aesthetisation and the and ideologically mapped personal cost; yet the silenced, contemplation and experience. Artworks located ‘perfecting’ of Nature into and staked; yet is there in finding their voice and within each zone resonate on many levels, and at myriad dimensions, and common ground, belonging agency, also face the limits the same time, all nine zones coincide, intertwine reconsiders the implications to neither party on either of representation. of human presence in the side of the drawn line? and reflect each other along the conceptual natural world. continuum of ‘An Atlas of Mirrors’ as a whole.

Each zone represents concepts, ideas and ways of seeing, as explored in the Biennale artworks.

• national & cultural identities • migratory experiences • marginalised & fictive histories • cultural & regional imprints • displacement • psychogeography • memory • home & belonging • ‘what ifs’

Entangled in the contingencies Displacement, homelessness Reimagined from unusual of experience, the concepts and and alienation in migrant perspectives, marginalised formation of national, regional, experiences disorientate, histories and fictive cultural and individual identities amplified by growing distrust micronarratives seek the are recognised as mutable and and fear, and the ongoing fissures in the landscape of ever in flux, wavering between threat of the violence of war; memory, and find the chasms being and becoming. still, a dream of belonging in history – gaping between somewhere glimmers. individuals, communities, nations and regions. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM LEVEL SINGAPORE 1 ART MUSEUM

71 Bras Basah Road, Singapore 189555 (65) 6589 9580; singaporeartmuseum.sg

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MARTHA ATIENZA LIM SOO NGEE DO HO SUH PHILIPPINES/NETHERLANDS SINGAPORE SOUTH KOREA/UNITED STATES/ UNITED KINGDOM HEMALI BHUTA MADE DJIRNA INDIA INDONESIA MELATI SURYODARMO INDONESIA CHOU SHIH HSIUNG MADE WIANTA TAIWAN INDONESIA EDDY SUSANTO INDONESIA DENG GUOYUAN MAP OFFICE CHINA HONG KONG/FRANCE TAN ZI HAO MALAYSIA PATRICIA PEREZ EUSTAQUIO PHUONG LINH NGUYEN PHILIPPINES VIETNAM TITARUBI NDONESIA DEX FERNANDEZ NI YOUYU PHILIPPINES CHINA TUN WIN AUNG & WAH NU MYANMAR FYEROOL DARMA PHASAO LAO SINGAPORE TCHEU SIONG RYAN VILLAMAEL LAOS PHILIPPINES GREGORY HALILI PHILIPPINES PALA POTHUPITIYE XIAO LU SRI LANKA CHINA HAN SAI POR SINGAPORE QIU ZHIJIE PANNAPHAN YODMANEE CHINA THAILAND 1. LIM SOO NGEE 7. MAP OFFICE 13. HEMALI BHUTA AGAN HARAHAP INDONESIA ARAYA RASDJARMREARNSOOK HARUMI YUKUTAKE 2. XIAO LU 8. MELATI SURYODARMO 14. DEX FERNANDEZ THAILAND JAPAN 3. H.H. LIM 9. ZULKIFLE MAHMOD 15. MADE DJIRNA KENTARO HIROKI THAILAND/JAPAN SHARMIZA ABU HASSAN ZULKIFLE MAHMOD 4. KENTARO HIROKI 10. PALA POTHUPITIYE 16. SHARMIZA ABU HASSAN MALAYSIA SINGAPORE 5. HARUMI YUKUTAKE 11. EDDY SUSANTO 17. DO HO SUH H.H. LIM MALAYSIA/ITALY 6. PATRICIA PEREZ EUSTAQUIO 12. MADE WIANTA OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM LEVEL LEVEL 2 3 PAGE 20 PAGE 21

18. TAN ZI HAO 24. MARTHA ATIENZA 30. DENG GUOYUAN 34. HAN SAI POR 19. CHOU SHIH HSIUNG 25. AGAN HARAHAP 31. PHASAO LAO TCHEU SIONG 20. QIU ZHIJIE 26. TUN WIN AUNG & WAH NU 32. ARAYA RASDJARMREARNSOOK 21. GREGORY HALILI 27. PHUONG LINH NGUYEN 33. RYAN VILLAMAEL 22. NI YOUYU 28. FYEROOL DARMA 23. PANNAPHAN YODMANEE 29. TITARUBI OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

1 2 3 4 LIM XIAO H.H. LIM KENTARO SOO NGEE LU HIROKI B. 1954, KEDAH, MALAYSIA B. 1962, SINGAPORE B. 1962, HANGZHOU, CHINA LIVES AND WORKS IN ROME, ITALY B. 1976, , JAPAN LIVES AND WORKS IN SINGAPORE LIVES AND WORKS IN BEIJING, CHINA AND , MALAYSIA LIVES AND WORKS IN BANGKOK, THAILAND

Inscription of the Island, 2016 Yin-Yang Calendar, 2016 Enter the Parallel World, 2001, 2016 Rubbish, 2016 Copper alloys with patina treatment Chinese ink on rice paper and magnets (set of 2) 2-channel video Colour pencil on paper (8 pieces) 250 × 500 × 300 cm 300 × 50 cm (each) Dimensions variable Various dimensions Collection of the Artist Collection of the Artist Collection of the Artist Collection of the Artist Singapore Biennale 2016 Singapore Biennale 2016 commission Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 22 PAGE 23 This piece consists of a of a large left Xiao is best known for her controversial This installation comprises two video works. Working with a strict methodology and set of hand emerging from the ground, with the palm performance Dialogue at the China Avant-Garde The first, About 60 kilos of wisdom, recalls a criteria, Kentaro Hiroki handpicks everyday facing skyward and a pointing index finger. Exhibition in 1989, where she shot at her own favourite saying of Lim’s mother, that wisdom is objects discarded on the streets to form the In Lim’s imagination, this was once part of a work. In this 2016 work, she explores the nothing more than the ability to keep a balanced basis for his works. The things he chooses are colossal that guided the ships of an contrast between the Western solar calendar state. In this video, we see the artist dressed in a intended to be reflective of time and space: ancient, mythical civilisation. But the statue and the Chinese lunar one. Two long black and dark-coloured suit, balancing on a basketball for unique to the localities in which he finds them, collapsed and, being too large to be moved, white stripes are juxtaposed to stand for the an almost unbelievable 30 minutes (the title of each object has its own story to tell of the was left to nature. Subsequently, the islanders two calendar systems. Both calendars start on the piece refers to how much Lim weighed at communities it was found in. Once the artist drew a circle around the hand and used it as 1 January 2016, and in a sequential unfolding the time). The second video, The falling wisdom, has painstakingly replicated each found a sundial. The artist asks: might Singapore order, a magnet, placed on each of the stripes represents the moment when this balance article into a detailed paper reproduction of have had a Bronze Age to call its own? indicating the date, is responsively moved is broken: Lim’s fall from the basketball the original item, the original value of these In proposing myth upon myth, Lim extends one step forward as each day passes. When suggests the reality of corporeal limits. items in the economic context is replaced our sense of history beyond historical records. 1 January 2017 arrives, the distance between The twinned videos – almost identical in scope with an art object, its uselessness imbued Meanwhile, our imagination is left to run wild: the two magnets will be significant. Besides and presentation – take on new significance with renewed meaningfulness. Each piece we ponder what lies in the earth beneath, indicating the different logic underlying each within the theme of the Biennale. Enter the takes up to four days to create, and Hiroki’s as indicated by this lone left hand. ML chronological system, such contrasts signify Parallel World juxtaposes two diametrically execution is simultaneously an exercise profound distinctions in history, geology opposed outcomes that quietly, slyly toy with in translation and self-reflection. JTZ and politics. The motion of the two indicators the viewer’s expectations. Despite what seem both documents the passage of time, and also like simultaneous performances, the actuality Kentaro Hiroki is also being exhibited at SAM at 8Q. outlines the cultural and historical landscape is that the process of failure was what led to Please see page 49. of East and West. XLP the achievement of balance. LH

Production supported by: Infinite Frameworks and Sharp

Inscription of the Island (artist impression); Yin-Yang Calendar (artist impression); Enter the Parallel World (video still); image courtesy of the Artist image courtesy of Yang Chao image courtesy of the Artist Image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

5 6 7 8 HARUMI PATRICIA MAP MELATI YUKUTAKE PEREZ EUSTAQUIO OFFICE SURYODARMO

B. 1966, TOKYO, JAPAN B. 1977, CEBU, THE PHILIPPINES ESTABLISHED 1996, HONG KONG B. 1969, SOLO, INDONESIA LIVES AND WORKS IN TOKYO, JAPAN LIVES AND WORKS IN MANILA, THE PHILIPPINES LIVE AND WORK IN HONG KONG LIVES AND WORKS IN SOLO, INDONESIA

Paracosmos, 2016 The Hunters Enter the Woods, 2016 Desert Islands, 2009, 2016 Behind the Light, 2016 Glass mirrors Oil on aluminium Engraved mirrors, cardboard, aquarium and Durational performance and installation Site-specific installation, dimensions variable 300 × 540 cm (installed width of diptych) media player with sound Dimensions variable Collection of the Artist Collection of the Artist Dimensions variable Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission Collection of the Artists Singapore Biennale 2016 commission PAGE 24 PAGE 25 Paracosmos propels the viewer into a parallel Rendered with hyper-realist precision, Eustaquio’s Reflected from the surfaces of 100 engraved In literature and art, mirrors have been revered world – a space of otherness that is recognisable reflects on our contradictory attitude mirrors, each bearing an island and its as instruments that reveal the truth or essential but unfamiliar. Shaped by Shinto ideas of towards the world – both manmade and natural – coordinates, a familiar topographical seascape nature of things and beings, as a means of interconnectivity, the site-responsive work is through the metaphor of the Orchidaceae, asking is fractured. The 100 mirrored islands – carefully scrying or obliquely surveying, and as portals to situated in the circular stairwell of the Singapore what drives our quest for the unique, even as we selected following research conducted by the parallel worlds. In some Asian theatre traditions, Art Museum, a central transition space that seek to manipulate and replicate the object of our artist duo MAP Office since 2008 – presents the mirror room is considered a sacred space, connects two floors. Here, the ‘membrane’ desire. While orchids were once rare specimens a collection of islands that, despite their where the actor dons his mask and gazes into of hand-cut mirrors dissolves the definition that spurred an obsession in flower hunters, they overlooked status, have played significant the mirror to become one with the character between foreground and background by are now big business in the global horticulture roles in shaping the global consciousness, and he is portraying. Behind the Light returns to dissipating the single image into an explosion industry and popular attractions in botanical have become a point of reference for global the mirror an element of its magic, mystery and of reflections. A space of simultaneity, and gardens, with over 100,000 hybrids created to desires, as well as fears and secrets today. agency, by suggesting that behind its surface eternally liminal, the mirror was core to date. The diptych – resembling Rorschach inkblots Complementing this atlas, Domesticated – which both receives and reflects our gaze – philosopher Michel Foucault’s concept of or island formations – mirrors the orchid’s Island stands as the 101st island in the work. is another dimension beyond the everyday. It the heterotopia as a kind of zone that could zygomorphic form. The left side portrays the A topographical approximation of Singapore’s turns on the idea of ‘psychological mirroring’, encompass other sites. Yet munificence can Paphiopedilum fowliei, an endangered wild orchid geography, it provides seating under the shade where individuals form ideas about themselves also be deceptive, and like a mirror that throws that can be found in the Singapore Botanic of a fake palm tree, where audiences can by observing and learning from others, while a warped or skewed reflection, heterotopias Gardens. The adjoining panel depicts a recently listen to audio recordings or peruse reference simultaneously influencing others by projecting can disturb and distort the spaces held in named orchid hybrid: as part of this artwork’s materials. Domesticated Island is also a vantage their selves and personalities. Behind the Light their embrace. The mirror reveals itself as a commissioning process, Eustaquio acquired its point from which to view the 100 islands. JTZ proposes an exchange between the two sides of paradoxical device: able to hold every other naming rights. “Winter Wedderburn” references a mirror, illuminating the relationships between image by having no inherent image, it can a H.G. Wells story, in which an orchid collector is self, surface, society and the spiritual world. TSL enfold an ‘everywhere’ by being a ‘nowhere’ killed by his bloodsucking floral possession. JTH in itself. JTH Production supported by: AE Models Team Pte Ltd and Torene Project Paracosmos; photo: Andre Wang; The Hunters Enter the Woods (artist impression); image courtesy of Singapore Art Museum image courtesy of the Artist Desert Islands (detail), 2009; image courtesy of the Artists Behind The Light (artist impression); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

9 10 11 12 ZULKIFLE PALA EDDY MADE MAHMOD POTHUPITIYE SUSANTO WIANTA

B. 1975, SINGAPORE B. 1972, DENIYAYA, SRI LANKA B. 1975, , INDONESIA B. 1949, BALI, INDONESIA LIVES AND WORKS IN SINGAPORE LIVES AND WORKS IN MULLEGAMA, SRI LANKA LIVES AND WORKS IN YOGYAKARTA, INDONESIA LIVES AND WORKS IN BALI, INDONESIA

SONICreflection, 2016 Other Map Series, 2016 The Journey of Panji, 2016 Treasure Islands, 2012 Wok lids, tweeters, pencil microphones, computer Archival digital print, acrylic, ink, Ink on canvas, acrylic and wood Raw buffalo leather, mirrors and nails with software, amplifiers, sound card and aluminium pencil on paper and canvas (20 pieces) 300 × 500 × 300 cm Various dimensions 380 × 673 × 134 cm Various dimensions Collection of the Artist Collection of the Artist Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 26 PAGE 27 Singapore in the twenty-first century is a Cartography is an act of history-making; history The Panji cycle is a collection of stories Treasure Islands delves into overlooked mélange of sights, smells and sounds of various is created and interpreted by the act of mapping. revolving around the legendary Prince Panji, chapters of Indonesia’s colonial past, threading Southeast Asian communities that have taken Is it possible for an artist to look beyond officially which originated in Java around the fourteenth together geographies as disparate as the tiny root here in recent years. The Thai community, constructed maps, and imagine a different past century and spread to what is now modern-day spice island of Rhun in Maluku, Indonesia, and for instance, congregates in Golden Mile or an alternate future? Pothupitiye attempts to Malaysia, Cambodia, Myanmar, the Philippines the metropolis of Manhattan in New York. In Complex, while the Burmese diaspora is known do so in this series, where he re-crafts the official and Thailand. It was only in the last century the 1667 Treaty of Breda, the Netherlands to be concentrated in Peninsula Plaza; each version of maps to tell a different story. The that these stories were gathered into a single relinquished their claims to New York (then ‘sonic territory’, as Zulkifle dubs them, boasts a maps he constructs are like palimpsests where volume, the Wangbang Wideya, by S.O. Robson. known as New Amsterdam), in exchange for unique soundscape all its own. SONICreflection he overlays, juxtaposes and transforms portraits The images in this artwork are taken from control of Rhun in the Indonesian archipelago, is a sound sculpture: recordings from a number of voyages, landscapes, mythical figures and reliefs illustrating episodes from the Panji cycle. which was home to precious nutmeg trees, then of these sonic territories are transmitted from other maps to re-inscribe stories of Sri Lanka’s Their outlines are rendered in scripts, starting regarded as the linchpin for Dutch control of multiple tweeters mounted on a wall lined with past and present, interspersed with his own first with Javanese script, then flowing out the highly profitable spice trade. Three and wok lids; pencil microphones are used to amplify personal history. The maps he refers to range into scripts reflecting the various regions a half centuries later, the fortunes of these the resultant cacophony, which assumes the from Ptolemy’s maps of Ceylon to current maps and localities that this narrative has travelled to: island outposts of empire have diverged form of layers of everyday, ambient clamour, of Sri Lanka. His atlas of maps tells many a calligraphic cartography charting the movement dramatically, and Rhun has all but faded from ranging from snippets of dialogue to incidental different stories simultaneously: of the deep of the Panji cycle throughout Southeast Asia. global awareness. Treasure Islands is inspired by noise. In exploring the micro-universes of scars of colonialism, the civil unrest and Even as the work reminds us of Southeast Asia’s a desire to recover these submerged historical Singapore’s cultural hodgepodge, Zulkifle’s religious extremism of recent years, and also shared cultural histories, the letters spilling out relationships: the orange-gold surfaces of work foregrounds the otherwise overlooked the lyrical beauty of a country that was once from the compendium of Panji stories suggest the these skin-maps, embedded with glittering auditory character of each community and called Ceylon. SG impossibility of ‘containing’ Southeast Asia and mirrors and nails, are redolent of the colour the space it inhabits. LH the limits of any attempt to unify its histories or of the spices, yet evoke an arid and barren to conceive of the region as a singular entity. TSL landscape, stripped of its treasures. TSL

Production supported by: Lawangwangi Creative Space

SONICreflection (detail); image courtesy of the Artist Image courtesy of the Artist The Journey of Panji (detail); image courtesy of the Artist Treasure Islands (detail); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

13 14 15 16 HEMALI DEX MADE SHARMIZA BHUTA FERNANDEZ DJIRNA ABU HASSAN

B. 1978, , INDIA B. 1984, CALOOCAN, THE PHILIPPINES B. 1957, BALI, INDONESIA B. 1972, TAIPING, MALAYSIA LIVES AND WORKS IN MUMBAI, INDIA LIVES AND WORKS IN CALOOCAN, THE PHILIPPINES LIVES AND WORKS IN BALI, INDONESIA LIVES AND WORKS IN SHAH ALAM, MALAYSIA

Growing, 2016 I Wander, I Wonder, 2016 Melampaui Batas The Covenant, 2016 Incense sticks, monofilament threads, Acrylic paint (Beyond Boundaries), 2016 Treated aluminium sheets, strips, metal weights, tape, staple pins and hooks Site-specific installation, dimensions variable Antique boat, terracotta and found materials rivets & wire cable, Jawi text, Installation dimensions variable Collection of the Artist Dimensions variable stainless steel wire mesh and nylon thread Collection of the Artist Singapore Biennale 2016 commission Collection of the Artist Dimensions variable Collection of the Artist Singapore Biennale 2016 commission PAGE 28 PAGE 29 Made from incense sticks of different fragrances In this artwork, Dex Fernandez probes the psyche Djirna’s art seeks to transcend the boundaries Sharmiza rereads and re-enacts two stories that are strung together and suspended that lies behind the compulsion to hold on to between interiorities and outward form, the from the Malay Annals, a keystone of Malay from above, this work is a reaction to and ‘useless’ objects. It is not uncommon to find physical and the spiritual, the microcosm literature, to re-examine some of the ’ continuation of a previous work, The Shedding Philippine homes abounding with decorative and the macrocosm. Within his installation traditional values and practices. The episode (2008). The constant cycle of shedding and mementos and souvenirs. These are often gifts of found objects is an antique ironwood boat, of the covenant highlights the solemn oath growing reflects on ideas of growth, life from family members working overseas, but when symbolic of journeying between the Nusantara made between Malay rulers and their subjects, and death, and the state of ‘in-betweenness’. disaster strikes, these possessions can imperil (the Indonesian archipelago) and the larger while the tale of the swordfish attacks revolves Growing is also informed by the Buddhist their owners’ lives by becoming fire hazards or world, as well as between the worlds of the around Hang Nadim, who saved Singapore concept of dependent co-origination: human obstructing exit routes. This prompted the artist living and the dead (in Balinese belief, the boat from the attacks but was unjustly murdered by beings are a unique species, yet form part of to examine how seemingly unnecessary objects carries the soul to its ancestral abode after his king. The work comprises a throne and a the larger whole that is Nature; both are subject become ‘unintended mirrors’ of the self: they death). Hundreds of terracotta figurines, chair, the text of the covenant in Jawi, and an to the same cycles of birth, growth and death. subconsciously reflect and reveal what we desire symbolising humanity, exhibit individual assemblage of swordfish . While the In this respect, we are like the single incense and believe is vital. Such objects are cherished expressions, even as their numbers suggest latter cast a haunting interplay of shadows, the stick that aspires to be singular and ‘pure’ with for their emotional worth – their ‘sentimental a community, and the clay, their frailty. Close throne and the chair – symbolising, respectively, its own novel fragrance, yet is also part of a value’ – which far outweighs their utilitarian by stands a tree fashioned from driftwood; the ruler and the people – face each other, as larger perfumed environment. The work also function. This site-specific comprises of within its trunk and branches are fragments if in dialogue with the past, and also reflecting alludes to ideas of tangibility, fragility and two counterpoint sets. One suite is based on of other lives, cultures and civilisations. This present political tensions between the two. NHK temporality. Bhuta’s use of unusual materials the surviving possessions of people in Tacloban is a tree ‘beyond time’, collapsing boundaries reaffirms her interest in the transformative who lived through the deadly typhoon in 2013; of distance, space, and culture. Charged with power of vernacular everyday materials and the other suite centres on in Singapore a numinous quality, Djirna’s installation is a their aesthetically generative possibilities. SG and depicts the objects they brought with personal cosmology that maps the voyages them here. JTH of his artistic imagination, as well as worlds beyond rational apprehension. TSL

Melampaui Batas (Beyond Boundaries) (detail); photo: Tan Siuli; Image courtesy of the Artist I Wander, I Wonder (artist impression); image courtesy of the Artist image courtesy of Singapore Art Museum The Covenant (detail); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

17 18 19 20 DO TAN CHOU QIU HO SUH ZI HAO SHIH HSIUNG ZHIJIE B. 1962, , SOUTH KOREA B. 1989, , MALAYSIA LIVES AND WORKS IN , LIVES AND WORKS IN SERDANG AND B. 1989, TAIPEI, TAIWAN B. 1969, FUJIAN, CHINA SEOUL AND NEW YORK THE KLANG VALLEY, MALAYSIA LIVES AND WORKS IN TAIPEI, TAIWAN LIVES AND WORKS IN BEIJING AND HANGZHOU, CHINA

Gate, 2003 The Skeleton of Makara Good Boy, Bad Boy, 2016 One Has to Wander through All the Outer Worlds Silk and stainless steel tubes, (The Myth of a Myth), 2016 Perspex and recycled engine oil (set of 2) to Reach the Innermost Shrine at the End, 2016 Artist Proof 1 of 1 Fibreglass and metal 240 × 120 × 7.5 cm, 250 kg (each) Ink on paper, glass and stone 326.5 × 211.5 × 100 cm 220 × 425 × 115 cm Collection of the Artist Dimensions variable Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 30 PAGE 31 Suh’s works are a meditation on home and One of the most prevalent mythological Coming from a family with an oil supply business In his creation of maps, Qiu adopts a belonging. His celebrated fabric installations are icons in Southeast Asia is the makara, which that goes back more than 50 years, Chou methodology that incorporates daily experience architectural compositions of once-inhabited originated in Hinduism. Depicted as a hybrid has been working on his ‘Petroleum Painting’ as well as a philosophical approach to thinking spaces, their diaphanous quality suggesting of different animals, typically half-mammal series over the last decade. It formalises the with graphics, and organising relationships lightness as well as malleability, reflecting a and half-fish, it has penetrated cultural, relationship between himself, his family and the and systems of knowledge. This map series desire to make ‘home’ transportable. These religious and philosophical discourses. materiality of petroleum, and also considers the presents Qiu’s investigation into cartographic ethereal structures are identity and memory Based on the idea of conceiving a myth out relationship of petroleum to the age in which we history. From his archaeological analysis of pre- made manifest; often, they are also ‘ghosts’ of of a myth, Tan fabricated a large-scale live – where petroleum is key to industrialisation Columbian trans-oceanic contact theories, to the places that have ceased to be. Gate is modelled skeleton of a makara: an elephant-crocodile and propels our modern world, but has also systemisation of motives, logics and methods on a gate at the artist’s family home in Korea, hybrid with the tusks of a wild boar and the led to numerous wars and environmental ruin. of different map-making approaches, he links itself constructed after a traditional scholar’s tail of a fish. His intention is to provide a Chou’s frame-like plexiglass containers hold together history, philosophy, mythology and house built in the nineteenth century, and ‘scientific’ basis to myth through presenting heavy, dark petroleum and can also be seen as science. In this work, the artist surfaces two made with discarded wood from demolished paleontological ‘evidence’; the replica of a time capsule, as the creation of petroleum elements underlying the connections between palaces and other historical buildings. These a fossil is intentionally incomplete to make in nature takes at least two million years. the phantom island, Utopia, and monsters: fear buildings, which had survived the wars and it more believable. The artist shows how the Moreover, the ‘painting’ stays in a liquid form and temptation. While early adventurers and turmoil of previous years, were torn down at a dissemination of an icon such as the makara has and keeps flowing; it will never solidify as an explorers were drawn to distant mysterious time when Korea witnessed rapid modernisation influenced our historical narratives, and reveals oil painting does. Like a strange mirror, Chou’s lands, their voyages, as they recount, were often – a phenomenon familiar to many throughout how our construction or representation of work reproduces the space it is in, yet distorts interrupted when they encountered uncanny Asia and Southeast Asia. Gate is a poignant history is sometimes based on something totally surrounding movements, giving viewers an creatures. Qiu’s installation features a handblown and personal memory of home; it is also a chimerical and imaginary, even absurd. NHK opportunity for curious self-reflection. XLP glass bestiary of fantastical monsters, imagined collective statement about dislocation and as traversing between the mountains and the seas, transformation in contemporary Asia, and the conjuring a world of mystery that may once have ghost of what has been left behind. TSL been out there, but has now disappeared. XLP

One Has to Wander through All the Outer Worlds to Reach the Image courtesy of the Artist Image courtesy of the Artist Image courtesy of K.C. Liu Innermost Shrine at the End (detail); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

21 22 23 24 GREGORY NI PANNAPHAN MARTHA HALILI YOUYU YODMANEE ATIENZA B. 1981, MANILA, THE PHILIPPINES B. 1975, MANILA, THE PHILIPPINES B. 1984, GANZHOU, CHINA B. 1988, NAKHON SI THAMMARAT, THAILAND LIVES AND WORKS IN BANTAYAN ISLAND, THE LIVES AND WORKS IN CAVITE, THE PHILIPPINES LIVES AND WORKS IN SHANGHAI, CHINA LIVES AND WORKS IN BANGKOK, THAILAND PHILIPPINES AND ROTTERDAM, THE NETHERLANDS

Karagatan (The Breadth of Oceans), 2016 Atlas, 2016 Aftermath, 2016 Endless Hours at Sea, 2014, 2016 Oil on mother-of-pearl shell and Mixed media on pinball game board Mixed media: found objects, artist-made icons, Video, sound and light installation, water, oil on pearl (set of 50) 45 × 23 × 5 cm concrete and paint stainless steel, aluminium, mechanics, Diameter 2.54–5 cm (each); Collection of the Artist Site-specific installation, 300 × 1600 cm LED light and air compression installation dimensions variable Singapore Biennale 2016 commission Collection of the Artist Dimensions variable Collection of the Artist Dust (Singapore Galaxy), 2016 Singapore Biennale 2016 commission Collection of the Artist Singapore Biennale 2016 commission Chalk and glue on blackboard 184 × 282 × 9 cm Echoing the mystery of the mirror, this evocative Collection of the Artist In a titanic mural, Pannaphan presents a Endless Hours at Sea is an exploration of the PAGE 32 Singapore Biennale 2016 commission PAGE 33 installation does a poetic turn: in looking at the mapping of the Buddhist cosmos that resembles tempestuous emotional and psychological Invisible Force, 2015 work, the work unnervingly looks back at you. a landscape painting. Using materials raw and relationship humankind has with water. Seas Steel and magnets on photography paper Karagatan portrays the eyes of residents in 220 × 660 cm natural, as well as the new and mass-produced, and oceans have often been regarded as coastal villages across the Philippines, ranging Collection of the Artist her amalgamation of contemporary and territories to be charted and conquered. from fishermen to pearl divers, a master Reconciling apparently contradictory or opposing traditional creates a unified cartography Yet to actually voyage on watery expanses is boat-builder, shell traders and others. The result elements, such as the virtual and the corporeal, of the heavens and the earth that chronicles to exist in a liminal space: always a ‘somewhere’ of the artist’s research are delicate the secular and the divine, and the finite and the Southeast Asian history. Pannaphan’s ongoing between leaving and arriving, and a ‘nowhere’ that capture the tiny, distinctive characteristics infinite, Ni presents three works: Invisible Force, investigation of the intersecting points between forever surrounded by ever-changing waters of each subject’s eye: lines, curves and contours, Dust (Singapore Galaxy) and Atlas. Invisible Force Buddhist cosmology and modern science has and weather conditions. This multimedia which transform into unusual and unexpected reproduces part of the sky as photographed by led her to consider the concepts of change, installation brings together material Atienza portraits. As miniatures, the works draw upon NASA, using almost thirty thousand industrial loss, devastation and inevitable armageddon. recorded from four oceanic journeys on cargo a hallowed tradition associated with the royal magnets to represent the invisible gravitational forces The artist argues that our persistent striving ships, and immerses the viewer in the constant courts, yet here, these tiny portraits map a between celestial bodies. Dust (Singapore Galaxy) for development and progress ultimately state of flux that characterises life on board community of coastal people who labour to is based on a photograph of the night sky around exposes our shortcomings and the revelation these vessels. As more than 400,000 Filipinos harvest the bounty of the ocean but rarely reap Singapore. The seemingly random scattering of chalk of a larger universe outside our spheres of work ‘overseas’, this is an artistic journey that its wealth. Halili pays homage to people whose dust is in fact a precise placement and measuring out comfort and control. She presents us with also finds echoes in the experiences of many fates and fortunes are bound to the ocean, of dust in relation to stellar distributions. The Chinese the ultimate question: at the end of all ends, of her countrymen. Endless is ultimately a work limning their likeness on precious mother-of- character for “dust” refers both to the socially under- will we find comfort in our faith? JTZ that reverberates close to home for Atienza pearl gleaned from the deep. JTH privileged, and the ordinary and the mundane, but – almost all of her family is involved in the here it is transformed into the limitless universe. Atlas maritime industry, including her grandfather makes use of pinball machines, collected by the artist who was a lighthouse keeper. JTH and processed through hand-painting and refitting. The image of the Greek god Atlas bearing the night sky echoes the theme of the Singapore Biennale. XLP Karagatan (The Breadth of Oceans) (detail); image courtesy of the Artist Dust (Singapore Galaxy); image courtesy of the Artist Aftermath (detail); image courtesy of the Artist Endless Hours at Sea (video still); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

25 26 27 28 AGAN TUN WIN AUNG PHUONG FYEROOL HARAHAP & WAH NU LINH NGUYEN DARMA TUN WIN AUNG: B. 1975, YWALUT, MYANMAR B. 1980, JAKARTA, INDONESIA WAH NU: B. 1977, YANGON, MYANMAR B. 1985, HANOI, VIETNAM B. 1987, SINGAPORE LIVES AND WORKS IN YOGYAKARTA, INDONESIA LIVE AND WORK IN YANGON, MYANMAR LIVES AND WORKS IN HANOI, VIETNAM LIVES AND WORKS IN SINGAPORE

Mardijker Photo Studio, 2015 The Name, 2008–ongoing Memory of the Blind Elephant, 2016 The Most Mild Mannered Men, 2016 Installation with framed photographs Video projection, books and musical score Single-channel video, rubber latex, Plaster, marble, appropriated (digital C print on paper) Dimensions variable soil on paper and metal stands replica bust and plinths Various dimensions Collection of the Artists Dimensions variable 180 × 55 × 55 cm (each) Collection of Axton Salim Collection of the Artist Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 34 PAGE 35 Harahap reworks archival photographs to present The Name revisits established accounts of Rubber cultivation was introduced to France’s Driven by his concern about a growing historical fictive portraits of the Mardijkers, a community Myanmar’s past by intervening in its ideologically- territories in Indochina by Dr Alexandre Yersin amnesia, Fyerool Darma departs from his of descendants of freed slaves found in major driven gaps. The husband-and-wife artist duo have at the start of the twentieth century. Plantations characteristic painting practice to present cities in the East Indies (present-day Indonesia). resurrected figures from the nineteenth-century such as the Michelin Rubber Plantation in sculptures of two key figures in Singapore Comprising indigenous people from conquered Anglo-Burmese Wars and beyond, recuperating an Vietnam not only boosted the economy, but history: an appropriated bust of Sir Stamford Portuguese territories, as well as people of autochthonous historical voice against what they also set the scene for the build-up of anti- Raffles by Sir Francis Legatt Chantrey, and Portuguese ancestry, the Mardijkers occupied an perceive as a colonial narrative. The three Anglo- colonial sentiments and Communist-led strikes. a bustless pedestal inscribed with the name, in-between status: despite adopting European Burmese Wars left the Burmese empire depleted; Fascinated by colonial rubber plantations and birth and death dates of Sultan Hussein religion and culture, they were classed with with each defeat, the Konbaung kings of Burma the role they have played and continue to play Mua’zzam Shah. Both Raffles and Sultan the ‘natives’ by the colonial government. The surrendered more territory to the British, until the in Vietnam, Phuong Linh explores the materiality Hussein played pivotal roles in the signing superimposition of European faces on ‘native’ final conflict concluded with the annexation of of rubber and investigates the historical of two treaties that resulted in the founding bodies, and vice versa, captures the fluidity and the country. In this work, portraits adorned with significance of the country’s rubber trees and of modern Singapore, and this artwork seeks instability of identities within this community, ornate, arabesque patterns emerge as uncanny plantations. Her work is realised in three parts: to uncover the relationships between them. a situation which the artist views as analogous apparitions, deliberately aestheticised and a video projection, a nine-piece installation, The way these men are represented is to contemporary Indonesia’s negotiation with re-presented as majestic, almost monumental and a suite of soil drawings on paper. The symbolic of the partisanship between major ‘global’ culture. In this series of arresting and tributes. The series includes photographic video captures the activities and landscapes and minor narratives in historical discourse, enigmatic portraits, some subjects appear to images of figures such as King Thibaw, U Wisara surrounding rubber plantations, while the reiterating the sentiment that history is adopt foreign dress and ways of life confidently, (a Buddhist monk who died after a six-month drawings chronicle the artist’s reflections often written by the dominant, while the while others reveal their uncertainty or hesitation. hunger strike against British rule in 1929, becoming and explorations around the plantations. dominated are relegated to minor roles. JTZ These images also comment on colonial an icon of the nascent independence movement) The installation addresses the history of rubber photography, which often exoticised its subjects, and Saya San (the leader of the so-called Saya in Vietnam and the Cham Pa community, who as well as our expectations of the photographic San Rebellion in 1930–1932, a key event of live in central Vietnam where many plantations image as ‘truth’ and ‘document’. TSL the anti-colonialist crusade). LH are located. AF

Production supported by: Axton Salim The Name (detail); Memory of the Blind Elephant (video still); The Most Mild Mannered Men (artist sketch); Image courtesy of the Artist image courtesy of nnncl workshop, Yangon image courtesy of Ta Minh Duc image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

29 30 31 TITARUBI DENG PHASAO TCHEU GUOYUAN LAO SIONG

B. 1968, BANDUNG, INDONESIA B. 1957, TIANJIN, CHINA B. 1948, LAOS B. 1947, LAOS LIVES AND WORKS IN YOGYAKARTA, INDONESIA LIVES AND WORKS IN XI’AN, CHINA LIVES AND WORKS IN LUANG PRABANG, LAOS LIVES AND WORKS IN LUANG PRABANG, LAOS

History Repeats Itself, 2016 Noah’s Garden II, 2016 History, 2013–2015 Spirit of Sky and Earth 3 & 4, 2016 Gold-plated nutmeg, copper-plated wood, Aluminium alloy steel frame, mirror glass, Cotton fabric appliqué on cotton fabric (5 pieces) Cotton fabric appliqué on cotton fabric nickel-plated wood, burnt wood, sampan, wood, LED lighting, real and artificial plants and rocks 118 × 107 cm (each) 351 × 112 cm (each) aluminium, copper, soil, light and nutmeg perfume 1160 × 650 × 320 cm Collection of the Artist Collection of the Artist Dimensions variable Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Tree Spirit, 2012 Singapore Biennale 2016 commission Cotton fabric appliqué on cotton fabric 427 × 322 cm Collection of the Artist PAGE 36 PAGE 37

History Repeats Itself is a meditation on the This site-specific work is at once a garden of Lao and Siong are a husband-and-wife Particular to Siong’s artistic repertoire are history of power, seeking to make visible the artificial flora and a labyrinth of mirrors. Entering couple of Hmong ethnicity, who produce the lanky creatures – featured prominently legacies of colonial conquest in Southeast Asia. the installation, viewers find themselves inside textile artworks that speak about universal on each panel – that represent the ‘shadows’, The burnt-out ships in this installation recall a kaleidoscope, where the surrounding infinite concepts of genealogy, movement and ‘spirits’ or ‘souls’ of her dreams, which her the ominous appearance of European armadas mirror images create a feeling of the loss of migration, and symbolism and representation. husband Lao, the village shaman, interprets. on the horizon during the early centuries of subjectivity. Artificial plants, referencing classical Lao’s History series is a rudimentary chronicle In Tree Spirit, Spirit of the Sky and Earth 3 European colonialism. At the same time they Song Dynasty representations of particular flora, of his Hmong clan. Each panel includes a black and Spirit of the Sky and Earth 4, Siong uses make reference to the burning of ships in but coated in vibrant colours, assault the senses border of motifs that symbolise ‘spirits’, and an design motifs that are typical of Hmong Indonesia by the Vereenigde Oost-Indische and blur the lines between the real and the outline of different ancestors or leaders in red, embroidery and ‘story clothes’ (pictorial Compagnie (Dutch East India Company or VOC) artificial. In applying the colour schemes from the colour of strength and courage. embroidery) – triangles that border her in an attempt to seize control of the lucrative maps he has examined to these artificial plants panels symbolise mountains, while the spice trade. Standing atop the charred ships and classically-referenced ‘scholar rocks’ he has cluster of five circles with a dot in each are shadowy, cloaked figures. Their robes created, the artist defies the conventional systems symbolises a peacock ocellus. AF are made of gold-plated nutmeg, a spice once of colour-coding in map-making, recasting the worth its weight in gold, over which countless world with a renewed hope for the integration wars were fought. Their rich sheen suggests of richness and diversity and the resolution of grandiosity and pomp, and their hollowness conflicts. By evoking scepticism and uncertainty, conjures the illusoriness of riches and power: his work raises doubt about the validity and at its heart, empty. They are spectres from accuracy of map-making; it creates a utopia the past, a dark mirror to our present. TSL while simultaneously disassembling it. XLP

Hallucinogenic (detail), 2004; image courtesy of the Artist Image courtesy of the Artist Phasao Lao, History; photo: Vanessa Tan; Tcheu Siong, Tree Spirit (detail); photo: Vanessa Tan; image courtesy of the Singapore Art Museum image courtesy of the Singapore Art Museum OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SAM SINGAPORE ART MUSEUM

32 33 34 ARAYA RYAN HAN RASDJARMREARNSOOK VILLAMAEL SAI POR

B. 1957, TRAT PROVINCE, THAILAND B. 1987, LAGUNA, THE PHILIPPINES B. 1943, SINGAPORE LIVES AND WORKS IN CHIANG MAI, THAILAND LIVES AND WORKS IN QUEZON CITY, THE PHILIPPINES LIVES AND WORKS IN SINGAPORE

Jaonua: The Nothingness Locus Amoenus, 2016 Black Forest 2016, 2016 (King of Meat: The Nothingness), 2016 Paper (replica maps) and felt Wood and charcoal 5-channel video installation Dimensions variable Dimensions variable Duration 35:00 mins Collection of the Artist Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 38 PAGE 39 This installation consolidates Araya’s thematic Latin for a “pleasant place”, the phrase Locus Han has been recognised for her investigations interests from throughout her career in Amoenus also evokes the notion of an escape into the impact of human activities on the an attempt to extract “the inseparable into an ideal landscape. In this instance, the natural world. Since 2011 she has been working entanglement of things/lives/subjects”. pastoral paradise has been sited within a house on the ‘Black Forest’ series, which takes Negotiating the expanse of time between life of glass – the greenhouse – an engineered Eden the form of installations comprising black and death, consumption presents itself as a for flora uprooted from its native soil. Indeed, or blackened wood logs lying on beds of dominant theme within the work – explored Villamael’s ‘greenhouse’ houses unusual foliage: charcoal. This presentation is different: we through the metaphysics of eating, femininity, intricate cut-outs created from archaic and see a destroyed ‘forest’ of charcoal logs the animal gaze, sexuality, and gender contemporary Philippine maps. Coalescing standing upright. Representing the charred stereotypes. Projected on four fabric screens notions of nature and nurture, culture and the wood from ongoing deforestation activities, leading up to a projection upon a bed, the cultivated, the work probes the imaging of these evocative ‘columns of nature’ prick our presentation of the video works echoes the the Philippines’ fraught history as the country conscience, yet attest to Nature’s resilience transient nature of our existence while also that endured the longest colonial rule in against every imaginable catastrophe. ML blurring the borders between art and life. Southeast Asia. Collapsing multiple realities, the In this installation, Araya has woven various installation is cut from maps that have two sides stories together into a cohesive experience. – a semiotic layering that conjoins the historical Almost akin to a surrealistic dream, she invites with the present-day. Creeping down from the audiences to ponder with her the karmic ceiling, the Monstera deliciosa looks to colonise consequences of being entrapped within its climate-controlled space in the museum. It is the Sisyphean cycle of existence. JTZ situated in the Singapore Art Museum in the only space where a section of the original colonial building façade from 1852 is still visible. JTH

Jaonua: The Nothingness (King of Meat: The Nothingness) (video still); image courtesy of the Artist Locus Amoenus (detail); image courtesy of the Artist Photo: Vanessa Tan; image courtesy of Singapore Art Museum OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q LEVEL S A M 1

AT 8Q 35. CHIA CHUYIA 36. AZIZAN PAIMAN 37. MELISSA TAN 8 Queen Street, Singapore 188535 38. MUNEM WASIF (65) 6589 9550; singaporeartmuseum.sg

000 8

N ACM PAGE 40 PAGE 41

LEVEL 2

39. WEN PULIN ZANG HONGHUA 40. WITNESS TO PARADISE 2016: NILIMA SHEIKH, PRANEET SOI, ABEER GUPTA & SANJAY KAK

AZIZAN PAIMAN KENTARO HIROKI NOBUAKI TAKEKAWA MALAYSIA THAILAND/JAPAN JAPAN

RATHIN BARMAN HTEIN LIN JACK TAN INDIA MYANMAR SINGAPORE/UNITED KINGDOM

BUI CONG KHANH MUNEM WASIF MELISSA TAN VIETNAM BANGLADESH SINGAPORE

CHIA CHUYIA NIRANJAN RAJAH WEN PULIN MALAYSIA/SWEDEN MALAYSIA/CANADA ZANG HONGHUA CHINA ADE DARMAWAN S. CHANDRASEKARAN INDONESIA SINGAPORE WITNESS TO PARADISE 2016: NILIMA SHEIKH, PRANEET SOI, FAIZAL HAMDAN ADEELA SULEMAN ABEER GUPTA & SANJAY KAK BRUNEI PAKISTAN INDIA OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q

LEVEL 35 36 CHIA AZIZAN 3 CHUYIA PAIMAN

B. 1970, SELANGOR, MALAYSIA B. 1970, MELAKA, MALAYSIA LIVES AND WORKS IN GOTHENBURG, SWEDEN LIVES AND WORKS IN PERAK, MALAYSIA 41. S. CHANDRASEKARAN 42. HTEIN LIM 43. JACK TAN 44. FAIZAL HAMDAN 45. NOBUAKI TAKEKAWA 46. ADE DARMAWAN

Knitting the Future, 2015, 2016 Putar Alam Café, 2016 Performance with knitting needles and leeks Mild steel structure, zinc plate, ventilator, Dimensions variable exhaust fan, fridge, transistor radio, TV monitor, Collection of the Artist mugs, kettle, tyre, microwave, wheel and interactive performance Dimensions variable Collection of the Artist Singapore Biennale 2016 commission PAGE 42 PAGE 43

In this durational performance piece, the Putar alam in Malay means charlatan, a person artist slowly knits a body-length garment who deceives and tricks other people for his out of leeks over five weeks. Chia is of ethnic or her own selfish benefit. Putar Alam Café is LEVEL Teochew Chinese background, and the leek an interactive space with a transistor radio, a 4 holds significance for the Chinese diaspora. television broadcasting a news channel (with During the Lunar New Year, it is a tradition to the volume muted), and recent works by the eat leeks, garlic greens or scallions, which are artist. This café will be stationed at the SAM known generically as suan (蒜). As this word is at 8Q plaza throughout the duration of the homophonous with the verb ‘to count’ (算), Singapore Biennale 2016, with the artist acting 47. KENTARO HIROKI an old adage goes, ‘If one ate leek, there as a ‘bartender’ as well as a ‘mediator’. He 48. ADEELA SULEMAN would be money to keep’. The artist is also serves food and drinks, which he either buys 49. BUI CONG KHANH concerned about environmental issues; as from shops or prepares himself, to the audience- 50. NIRANJAN RAJAH she remarks, “This performance produces a customers. He also manages and mediates 51. RATHIN BARMAN suit to protect the body from an unknown the conversations and debates among them, future.” The human body is “land that needs them to respond to the information to be taken care of.” By protecting the they hear over the radio, news stories on body, she is protecting the land through this the television, or images of his artworks. performance. Knitting the Future recalls The work is a social experiment to show how older rituals of food preparation and suggests the media, possibly the greatest charlatan of that perhaps our future lies in our past. LH them all, profoundly affects our perception and understanding of things around us. NHK Production supported by: Nanyang Academy of Fine Arts

Knitting the Future (detail); image courtesy of the Artist Putar Alam Café (detail); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q SAM AT 8Q

37 38 39 MELISSA MUNEM WEN ZANG TAN WASIF PULIN HONGHUA

B. 1989, SINGAPORE B. 1983, DHAKA, BANGLADESH B. 1957, SHENYANG, CHINA B. 1977, YANTAI, CHINA LIVES AND WORKS IN SINGAPORE LIVES AND WORKS IN DHAKA, BANGLADESH LIVES AND WORKS IN BEIJING, CHINA LIVES AND WORKS IN BEIJING, CHINA

“ If you can dream a better world Land of Undefined Territory, 2014–2015 Seven Sins: China Action, 1999 Ling Long Tower, 2015 you can make a better world or perhaps Archival pigment print and museum rag board, Seven Performances during Single-channel video Single-channel video travel between them”, 2016 edition 7 + 2 AP the 1989 China Avant-Garde Duration 56:39 mins Duration 1:32:31 mins Acrylic on watercolour paper, mild steel Various dimensions Exhibition, 1989–2009 Collection of Collection of the Artist and compressed foam Collection of the Artist Single-channel video the Artist Dimensions variable Duration 51:52 mins Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission PAGE 44 PAGE 45

This work features laboriously and painstakingly Repetitive frames of barren land with no significant These three films record many cherished Ling Long Tower by Zang Honghua is inspired hand-cut paper and laser-cut metal sculptures geographical or political identity: this land could and critical moments in the development of by Wen’s two films and investigates the that translate the continually expanding urban be anywhere, as the title of the artwork suggests, Chinese contemporary art. Wen Pulin’s Seven Songzhuang Artists Village in Beijing. These physical landscape and terrain of Singapore and yet it is not. It is one of the most contested Sins: Seven Performances during the 1989 three films capture the Chinese from into abstract visual and sonic contemporary territories in recent history, over which lives have China Avant-Garde Exhibition presents seven the 1980s to 2011 in a humorous and quick- expressions. Presented as an imagined island been lost and wars have been fought: the border unsolicited acts performed at the National Art witted style, as it vigorously yet chaotically sculpture together with three ‘music boxes’, that separates India from Bangladesh. It brings to Museum of China on 5 February 1989, including evolved from its earlier ‘wild’ state into a the artwork incorporates ‘data points’ that are mind histories of decolonisation, when new maps Xiao Lu’s gun-shooting performance Dialogue, mature presence in the global art world. XLP composed of impressions made on physical divided the Indian subcontinent in 1947, when which stirred interest in international art circles. features such as pavements, paths, walkways Bangladesh came into being in 1971, and the and roads. Through the scoring, and ceaseless conflicts that continue to this day between China Action is another of Wen’s signature notching of the paper and metal, it re-encodes India and Bangladesh. These photographs explore works, documenting the Beijing-centred yet the information from our built and natural not only people’s political relationship to land, but nationally influential art movements of the environment, while also mirroring the actions also the effects of aggressive industrialisation. 1980s and 1990s, with a particular focus made by natural weathering and human By presenting us with topographies of passive on the emergence of performance art and intervention that imprinted these marks onto land that has been exploited for political and its impact on contemporary art. the various surfaces. Tan’s artwork is thus a economic reasons, Munem forces us to reflect poetic recording – in sound and sculptural on the nature of maps: Who constructs them? form – of the passing of time through the Are they innocent constructions? How are they mapping of the physical features that make broken and replaced? SG up our transient landscape. AF

Production supported by: T&K Worldwide Commerce Pte Ltd Land of Undefined Territory debuted at the Dhaka Art Summit 2016 with additional support from the Samdani Art Foundation. “If you can dream a better world you can make a better world or Wen Pulin, Seven Sins: Seven Performances during Zang Honghua, Ling Long Tower (video still); perhaps travel between them” (detail); photo: Andrea Fam; the 1989 China Avant-Garde Exhibition (video still); image courtesy of the Artist image courtesy of the Singapore Art Museum Image courtesy of the Artist and Project 88, Mumbai image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q SAM AT 8Q

40 WITNESS TO PARADISE 2016: NILIMA SHEIKH, PRANEET SOI, ABEER GUPTA & SANJAY KAK

NILIMA SHEIKH PRANEET SOI ABEER GUPTA SANJAY KAK Another Chronicle of Loss, 2009 Srinagar II, 2016 The Pheran, 2016 Witness to Paradise, 2016 Sarhad 3, 2014 24 papier-mâché tiles, acrylic & gouache, Garments in wool, silk & cotton, 30 photographs by Meraj ud-Din, Shadows, Stains, 2009 UV matt varnish, slideshow and 5 wall drawings with embroidery in silk, wool & zari; Javeed Shah, Altaf Qadri, Showkat Nanda Testimony, 2008 Dimensions variable metal wire; and photographs and Syed Shahriyar Hussainy Tempera on Sanganer paper Collections of Kiran Nadar Museum of Art and Dimensions variable Various dimensions Various dimensions Experimenter, Kolkata Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Another Chronicle of Loss: Collection of Tarun Kataria PAGE 46 Sarhad 3: Collection of the Artist PAGE 47 Shadows, Stains: Collection of Tarun Kataria Testimony: Collection of Mamta Singhania

Kashmir, once a land of multitudinous beauty, For example, Another Chronicle of Loss and The wall drawings include excerpts from the Kak curates 30 photographs by five is now a valley beset by conflict, death and Shadows, Stains are informed by the poems of Instrument of Accession (ceding Jammu and photojournalists – Meraj ud-Din, Javeed destruction. It is considered “the unfinished Kashmiri poet Aga Shahid Ali, while Sheikh’s Kashmir to the Dominion of India in 1947) and a Shah, Altaf Qadri, Showkat Hussain Nanda business of the end of Empire” and remains extensive use of stencilwork alludes to the diagram referring to anamorphosis (a technique and Syed Shahriyar Hussainy – to excavate one of the oldest unresolved disputes in the latticework typical of vernacular Kashmiri that causes an image to appear distorted unless photography as a key artistic practice that world today. Witness to Paradise 2016 (the title architecture. Her paintings are a multifaceted seen from a particular location) from Leonardo has emerged from 25 years of endemic drawn from Sanjay Kak’s photo-book of the meditation on the nature of destroyed beauty, da Vinci’s Codex Atlanticus, which serves as a conflict in the Kashmir valley. The Witness to same name) is a curatorial project presenting the necessity of memory, and the forms and metaphor for his body of work shown here. Paradise project focuses on photographers mediated reflections of a landscape that was adequacy of memorialisation. who displace older photographic traditions, once and now is Kashmir, through the work of Gupta explores the material culture of Kashmir which were first spawned by colonialism, two artists, an anthropologist and filmmaker: In Srinagar II, Soi explores the plurality of through the pheran – a garment that is used and later tourism. The established tropes respectively, Nilima Sheikh, Praneet Soi, influences in Kashmir and the migratory nature widely by men, women and children across around Kashmir – of a beautiful landscape Abeer Gupta and Sanjay Kak. of forms and images through the papier-mâché class and religion in this region. He sees the sans people; of an innocent paradise; tiles. The slideshow of Sufi shrines and other pheran as a symbol of Kashmiri identity that or at best, of a paradise beset by mindless Sheikh’s paintings are personally woven images are an ongoing visual diary of Srinagar has witnessed the political, social, cultural violence – are conclusively reversed by imaginings that draw from accounts, texts, that Soi constantly updates. and aesthetic changes that have taken place this work. SG lore and the craft traditions of the region. in the area. Archival photographs from the collection of Mahatta & Co. Srinagar showcase the pheran in the context of daily life in Kashmir.

Nilima Sheikh, Shadows, Stains, (detail); Praneet Soi, Srinagar II (detail); image courtesy of Kiran Nadar Abeer Gupta, The Pheran, (detail); Sanjay Kak, Witness to Paradise, (detail); image courtesy of the Artist. Museum of Art and Experimenter, Kolkata images courtesy of Mahatta & Co. image courtesy of Altaf Qadri. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q SAM AT 8Q

41 42 43 44 S. HTEIN JACK FAIZAL CHANDRASEKARAN LIN TAN HAMDAN

B. 1959, SINGAPORE B. 1966, INGAPU, MYANMAR B. 1971, SINGAPORE B. 1975, TUTONG, BRUNEI LIVES AND WORKS IN SINGAPORE LIVES AND WORKS IN YANGON, MYANMAR LIVES AND WORKS IN LONDON, UK LIVES AND WORKS IN BANDAR SERI BEGAWAN, BRUNEI

Unwalked Boundaries, 2016 Soap Blocked, 2016 Hearings, 2016 Dollah Jawa, 2016 Mixed media: metal hooks, metallic headband Carved soap, books and poster Textile hangings with audio recordings (set of 8) 2-channel video projection and etching on ceramic boards Dimensions variable (27 to 29 Oct 2016, 2pm) and ‘live’ performances Dimensions variable Dimensions variable Collection of the Artist (29 Oct 2016, 2pm, 3pm and 4pm) at Chamber, Collection of the Artist Collection of the Artist The Arts House; bound manuscripts, music stands Singapore Biennale 2016 commission Singapore Biennale 2016 commission and speakers with audio recordings (set of 8) at SAM at 8Q (30 Oct 2016 to 26 Feb 2017)

Hangings 150 × 120 cm each; manuscripts

PAGE 48 25 × 17.6/25 cm × various widths PAGE 49 Building on Chandrasekaran’s exploration of A map of Myanmar, painstakingly constructed (closed/opened dimensions, each); This installation sits at the intersection of body and identity, this installation – in the form of a thousand squares of sculpted Shwe Wah recordings various durations 1:04–3:59 mins; two histories: macro and micro. The artist’s ‘live’ performances total duration of “an intention to walk” – focuses on the soap, testifies to the artist’s tumultuous life. approx. 17:00 mins (each) grandfather was one of many Javanese forcefully thousands of Indian convicts who, from After participating in the failed uprising of 1988, Collection of the Artist expatriated to Brunei during World War II by the 1825 to 1873, were transported to Singapore Htein Lin fled underground to refugee camps. Imperial Japanese Army. He stayed after the and served their sentence as manual labourers. He returned to Yangon in the early 1990s, but occupation ended, and ended up marrying a The installation consists of a metallic headband was arrested and jailed on charges of opposition Tan brings art and law together to explore local woman and raising a family. The work that bears the artist’s national registration activity. While in prison for almost seven years, ‘legal aesthetics’. This work presents part of engages with the history of the Japanese identity card (NRIC) number, a set of six hooks, he made art on scraps of fabric, prison uniforms his collaborative project with the Community occupation of Brunei during World War II, and a road map etched onto ceramic boards. – and in soap. From a bar of soap, he carved a Justice Centre (CJC). The project explores as well as the artist’s personal family history. These are preparatory materials for a walk- little captive human figure, trapped within the the experience of litigants-in-person at the Two series of images are cast as projections performance in the Bras Basah-Bugis area claustrophobic confines of four walls. The piece State and Family Courts of Singapore. As an on either side of a fabric screen. On one side – Singapore’s cultural and heritage precinct, was smuggled out by a Red Cross representative artist-in-residence at CJC and the Courts, Tan of the screen are old photographs of Faizal’s and also the former location of the convict in 1999, communicating to the world the attended court proceedings, listened to the grandfather, some featuring fragments of prison. The objects lie in a glass reliquary, deplorable state of Myanmar’s prisons. soundscape of the courts, paying attention scribbled notes on the back. On the other waiting to serve as accessories for the artist, Soap Blocked returns to the original moment to the use of voice, and documented what side are archival images from the Japanese who would personify a nineteenth-century of this desperate, clandestine plea. The work he heard as drawings. The artist turned his occupation in Brunei (1941–1945), showing scenes Indian convict. They point to the artist’s amplifies autobiographical resonance into a drawings into graphic scores, which were such as the arrival of Japanese troops in the intended role as embodied conscience, starkly visceral monument to the collective then interpreted and sung by the Anglo- sultanate, then Sultan Ahmad Tajuddin with highlighting the awkward gaps in Singapore helplessness that was experienced under socialist Chinese Junior College Alumni Choir. ML the occupying forces and an example of the history where the convicts’ contributions military rule. LH Production supported by: Ethan Seow wartime ‘banana’ currency. LH

have been long overlooked. ML Jack Tan’s Hearings will be exhibited at Chamber, The Arts House, from 27 to 29 October 2016.

Unwalked Boundaries (artist impression); image courtesy of the Artist Soap Blocked (detail); image courtesy of the Artist Hearings (artist sketch, detail); image courtesy of the Artist Dollah Jawa (video still); image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q SAM AT 8Q

45 46 47 48 NOBUAKI ADE KENTARO ADEELA TAKEKAWA DARMAWAN HIROKI SULEMAN

B. 1977, TOKYO, JAPAN B. 1974, JAKARTA, INDONESIA B. 1976, OSAKA, JAPAN B. 1970, , PAKISTAN LIVES AND WORKS IN SAITAMA, JAPAN LIVES AND WORKS IN JAKARTA, INDONESIA LIVES AND WORKS IN BANGKOK, THAILAND LIVES AND WORKS IN KARACHI, PAKISTAN

Sugoroku – Anxiety of Falling Singapore Human Resources Institute, 2016 Rubbish, 2016 Dread of Not Night 1, 3, 4, 7–9, 2015, 2016 from History, 2016 Installation with paintings, prints, Colour pencil on paper (8 pieces) Blood Stains the Soil 1, 2016 Sugoroku table, glass rocket sculpture, photographs, found objects and furniture Various dimensions Hand-carved wood, found vintage ceramic plates woodblock prints, acrylic on canvas Dimensions variable Collection of the Artist with enamel paint, harderner and lacquer Dimensions variable Collection of the Artist Singapore Biennale 2016 commission Various dimensions Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission Dread of Not Night 1 & Blood Stains the Soil 1: Collection of Taimur Hassan Dread of Not Night 3: Private collection PAGE 50 PAGE 51 In this installation, Takekawa continues his Darmawan’s work continues his interest in the Working with a strict methodology and set Dread of Not Night 4: Collection of Shehnaz and Maya Ismail experiments with maps, realised with irreverent peripheral histories of capitalism and their of criteria, Kentaro Hiroki handpicks everyday Dread of Not Night 7–9: Collection of the Artist; humour. It comprises a set of tables holding relationship with contemporary life. Its entry objects discarded on the streets to form the Singapore Biennale 2016 commission board games and maps, with paintings and point is the Singapore Human Resources Institute, basis for his works. The things he chooses are prints on the wall that elaborate on the historical established in 1965 (the year Singapore became intended to be reflective of time and space: In Suleman’s decorative, stylised paintings on found and social themes of the work. In the middle independent) to promote excellence in human unique to the localities in which he finds them, ceramic plates mounted on elaborately carved wood- of the installation is a glass rocket: the glass resource management and development – an each object has its own story to tell of the en frames, she uses the images of Persian and Mughal evokes the 1950s and 1960s, a period when integral role then, as now, for Singapore’s economic communities it was found in. Once the artist miniature painting to create a critical visual vocabulary there was greater interest in Sugoroku games, development. The installation comprises objects has painstakingly replicated each found for her contemporary narratives. While the traditional and at a time when scientific innovations once found in offices and domestic environments article into a detailed paper reproduction of miniaturist’s repertoire consisted of idyllic landscapes about space and technology captured the in Singapore as well as Indonesia, in an imagined the original item, the original value of these and courtly scenes, Suleman’s works are replete with imagination. These maps and objects allow space commemorating the institute’s achievements. items in the economic context is replaced the imagery of bloodshed, death and violence. The for imaginary time travel by the audience This space serves as a memory-archive, a palimpsest with an art object, its uselessness imbued fragile plates mirror and enframe scenes of war, violent between the present and the past. However, of ‘minor histories’ which acquire a historical with renewed meaningfulness. Each piece killings, combat and destruction. Violence and the also depicted on the maps are ceramic objects significance in their collective impact on society takes up to four days to create, and Hiroki’s memory of violence, the artist reiterates, is deeply representing current social issues in Japanese and the state at large. Embedded in these found execution is simultaneously an exercise embedded in our psyches, our bodies and our land- society – problems Japan faces as a result of objects and collages are narratives about national in translation and self-reflection. JTZ scapes. Commenting on the gem-like quality of her ignoring the consequences of its failed attempt ideologies and aspirations, as well as parallels Kentaro Hiroki is also being exhibited at disturbing images, the artist says violence has always the Singapore Art Museum. Please see page 21. to ‘conquer’ Asia during World War II. XLP with other Southeast Asian nations with capitalist been closely connected with beauty. Consider that ambitions. Darmawan transforms the detritus of Islamic arms and armour – objects of violence – were consumerist society into lenses for viewing the decorated using the most sophisticated techniques political, social and economic transformations that of gilding, inlay, and gold and silver encrusting. have shaped both Singapore and the region. TSL In Suleman’s words, “The more heinous the crime, the more beautiful the object needs to be.” SG Sugoroku – Anxiety of Falling from History (detail); Singapore Human Resources Institute (detail); image courtesy of Ota Fine Arts, Singapore/Tokyo image courtesy of the Artist Image courtesy of the Artist Dread of Not Night 8; image courtesy of the Artist OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

8Q SAM AT 8Q

49 50 51 BUI NIRANJAN RATHIN CONG KHANH RAJAH BARMAN B. 1972, DANANG, VIETNAM LIVES AND WORKS IN HO CHI MINH CITY B. 1961, JAFFNA, SRI LANKA B. 1981, TRIPURA, INDIA AND HOI AN, VIETNAM LIVES AND WORKS IN VANCOUVER, CANADA LIVES AND WORKS IN KOLKATA, INDIA

Dislocate, 2013–2015 Koboi Balik Lagi Home, and a Home, 2016 Jackfruit wood (The ‘Koboi’ Returns Again), 2016 Welded mild steel bars with rust-preventive Dimensions variable Chromogenic prints, 12 light box transparencies, transparent coating, cast concrete and Collection of the Artist mango icon and performance weathered steel Various dimensions Dimensions variable Collection of the Artist Collection of the Artist Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 52 PAGE 53 Handcrafted by the artist and master carpenters This installation has three components. The two Barman investigates ‘home’ and ‘landscape’ as and woodcarvers over two years, Dislocate can chromogenic prints are SUPERSTAR, featuring an idea, not just in the physicality of its presence, be described as an act of catharsis. It brings the artist in front of a poster of the Tamil movie but the space that it occupies in the minds and together an appreciation for the artist’s family star Rajinikanth, and PujaanKu (One and Only, memories of displaced Bangladeshi migrants. history and heritage, and the complexities after a famous song by P. Ramlee), which shows This work grew out of the time Barman spent surrounding social and national identity. Khanh Niranjan with his English wife. Next, Koboi Balik in Singapore chronicling the conversations combines the woodworking craftsmanship of Lagi (The ‘Koboi’ Returns Again) features 12 and poetry of Bangladeshi migrant labourers. his ancestral province of Fujian, China, with the light boxes with images of the artist’s activities, Juxtaposing the large, minimal sculptures of cultural identity of central Vietnam, to investigate captured over one day at the National Visual shop-houses (heritage buildings which are and highlight the geo- and sociopolitical tensions Arts Gallery in Kuala Lumpur. The third element sometimes used as dormitories for hundreds between Vietnam and China. The artwork is is a series of performances in which the artist of workers today) alongside rust-transferred made entirely of jackfruit wood – a much-prized (or his accomplice) peels, slices and serves a drawings and cement sculptures, Barman timber, native to South and Southeast Asia – mango to the audience, while recounting the explores the parallel realities of the migrants’ with repurposed elements from a traditional Hindu myth about Ganesha winning a mango experience – the house they live in in Singapore wooden Vietnamese home. The central by circling around his parents. This installation and the ‘home’ they dream of in Bangladesh. sculpture contains of a Vietnamese is an expansion of Niranjan’s original Koboi In the artist’s words, “transferring rust military jacket, American GI helmets and Balik Kampung (The ‘Koboi’ Returns Home) impressions onto paper, casting abandoned missiles, interspersed between motifs of lotus series, where he explored personal and family domestic objects in concrete … realising skeletal flowers and dragons composed within panels narratives, as well as the cultural, political definitions of homes – is more like sculpting of chain-link carvings. Situated on each of the and social landscapes of Malaysia. It reflects from memory – reconstructions rusted in time”. four sides of the sculpture is a plinth supporting Niranjan’s psychological and sociocultural The sound piece of the workers’ poems in a miniature Buddhist pagoda with cannons, consciousness as an artist living and working Bangla reflects the untranslatable journey being engulfed by a Chinese bonsai plant. AF in Canada, and as a Malaysian citizen. NHK of the displaced people. SG

Home, and a Home (artist sketch); image courtesy of the Artist and Image courtesy of the Artist Koboi Balik Lagi (detail); image courtesy of the Artist Experimenter, Kolkata OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

NMS LEVEL NATIONAL 1 MUSEUM OF SINGAPORE & STAMFORD GREEN

93 Stamford Road, Singapore 178897 (65) 6332 3659; nationalmuseum.sg

000 8

N ACM PAGE 54 PAGE 55

DAVID CHAN 52. DAVID CHAN 53. SUBODH GUPTA 54. DEBBIE DING 55. PERCEPTION3 SINGAPORE

DEBBIE DING SINGAPORE/UNITED KINGDOM

SUBODH GUPTA INDIA

PERCEPTION3 SINGAPORE OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

NMS NATIONAL MUSEUM OF SINGAPORE & STAMFORD GREEN

52 53 54 55 DAVID SUBODH DEBBIE PERCEPTION3 CHAN GUPTA DING

B. 1979, SINGAPORE B. 1964, KHAGAUL, INDIA B. 1984, SINGAPORE ESTABLISHED 2007, SINGAPORE LIVES AND WORKS IN SINGAPORE LIVES AND WORKS IN , INDIA LIVES AND WORKS IN LONDON, UK AND SINGAPORE LIVE AND WORK IN SINGAPORE

The Great East Indiaman, 2016 Cooking the World, 2016 Shelter, 2016 There are those who stay / Wood, welded steel and concrete Found aluminium utensils, monofilament line and steel Replica of household shelter: There are those who go, 2016 2400 × 500 × 1800 cm 600 cm (diameter) plaster on cement-fibre board, plywood, steel, Installation with text on aluminium Collection of the Artist Collection of the Artist ceiling light fixture and paper composite panels (set of 2) Singapore Biennale 2016 commission 240 × 290 × 170 cm 240 × 420 × 60 cm (each) Collection of the Artist Collection of the Artists Singapore Biennale 2016 commission Singapore Biennale 2016 commission PAGE 56 PAGE 57 Commingling fact and fiction, The Great Gupta’s work draws on the visual culture around Ding examines the world she lives in This work explores the idea of ‘staying’ East Indiaman revisits Sir Stamford Raffles’ him, one that is saturated in an overabundance through personal adventures, research, art, and ‘going’ as what the artist-duo calls “two landing in 1819, which led to the founding of of images, forms, food and people – mirrored documentation and activism. In this work, perspectives of a single decisive moment”. modern Singapore. In place of the triumphant in his avalanche of plates, cups, pails and pots. she presents a life-size freestanding replica Two mirror-finished walls face each other. European male protagonist, the artist recasts But unlike his other sculptures made of shiny of a household bomb shelter, a room introduced One bears the phrase, “There are those who the narrative as a fantastical tale of a mythical, stainless-steel vessels, Cooking the World is by Singapore’s Housing and Development stay”; the other, “There are those who go”. now-extinct species of whale that brought made of used aluminium vessels that are Board (HDB) in 1997 that must be maintained as As if in a stand-off, the walls suggest layered Raffles to these shores. In this invented folklore, inscribed with personal histories. They refer to such for emergencies. In peacetime Singapore, readings into the nature of choice, attachment, the whale species called the ‘East Indiaman’ the parallel realities in a globalised, consumerist however, residents find the bomb shelter to be separation and loss. The artwork is sited where was domesticated as man’s marine beast of society: surplus and affluence on one hand, a liability rather than an asset; the shelter seems the old National Library building once stood burden. However, Chan’s origin tale is also dearth and deprivation on the other. The artist’s to wait in vain to fulfill its design function, as it (it was demolished amid public outcry in 2005), grounded in rigorous historical research: use of worn-out vessels monumentalises the lives gets inevitably, variously repurposed. In bringing and offers an open reflection on Singapore’s from the seventeenth to nineteenth centuries, of people who have been marginalised by life this room out of its lived context of an HDB architectural heritage, while the mirror-like walls the East Indiaman was the generic name and history, while the delicate threads from flat into a gallery setting, Ding positions this provide the viewer with a tangible, yet reflected for any sailing ship belonging to the English which each pot hangs lend a sense of fragile architectural fragment as a structure complete and hence distanced encounter of the site. ML East India Company, and it was on one such temporality to this work. If a breeze were to in its own right. It is as if the appendix of merchant vessel that Raffles sailed to reach pass through this gargantuan haloed sphere, a body (the household) has been extracted Production supported by: Kelvin Ang, Jimmy Chua, Ho Hui May, Bervyn Lee, Nicholas Song, Juliana Tong Singapore. The work, sited on the front lawn one could imagine the smaller pots gently to be scrutinised and reimagined. ML and Singapore Management University of the National Museum of Singapore, also swaying, as though they were particles of recalls the skeleton of an Indian fin whale that stardust threatening to escape from this National Museum of Singapore admission charges apply for Debbie Ding’s Shelter. Please enquire at the NMS was once the highlight of the museum. JTH only-temporary assemblage of a world. SG Visitor Services Counter for more information.

The Great East Indiaman (artist sketch); Cooking the World (work-in-progress); Shelter (artist concept sketch, detail); There are those who stay / There are those who go image courtesy of the Artist image courtesy of Subodh Gupta Studio image courtesy of the Artist (artist impression); image courtesy of the Artists OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PM

56 PERANAKAN MARINE KY

B. 1966, PHNOM PENH, CAMBODIA MUSEUM LIVES AND WORKS IN BATTAMBANG, CAMBODIA

39 Armenian Street, Singapore 179941 (65) 6332 7591; peranakanmuseum.org.sg

Setting Off, 2016

000 8 Ink transfer prints on fabric and paper, copper, wood and ceramic Site-specific installation, dimensions variable Collection of the Artist Singapore Biennale 2016 commission

N ACM PAGE 58 PAGE 59 Driven by diverse factors and circumstances such as conquest, trade, exile, turmoil and natural disasters, humankind has for millennia been travelling great distances over land and sea in search of power, resources and safety. Setting Off is on the one hand steeped with the artist’s own experiences and recollections of being displaced from the country of her birth, Cambodia, but more generally speaks about the numerous and varied journeys individuals and communities find themselves facing and eventually embarking on. In this installation, Ky traces the history of pattern-making back through time and space. Incorporating examples of Peranakan lace and embroidery patterns (obtained from Cambodia, China, Hong Kong and Korea), the artist imprints, etches and prints them over Khmer motifs using intaglio printing and Khmer engraving techniques – thus forming hybridised patterns that amalgamate the multiple layers of aesthetic influence in Peranakan and Khmer cultures. AF

Setting Off (detail); image courtesy of the Artist

MARINE KY CAMBODIA/FRANCE OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

ACM

57 58 ASIAN AHMAD JIAO FUAD OSMAN XINGTAO B. 1969, KEDAH, MALAYSIA LIVES AND WORKS IN BALI, INDONESIA B. 1970, CHENGDU, CHINA CIVILISATIONS AND KUALA LUMPUR, MALAYSIA LIVES AND WORKS IN CHONGQING, CHINA MUSEUM

1 Empress Place, Singapore 179555 (65) 6332 7798; acm.org.sg

Enrique de Memorial Project, 2016 The Unity of N Monuments, 2016

000 8 Single-channel video, nutmeg and clove casts, Cypress wood and copper (100 pieces) replica & found objects, oil paintings and 45 × 34 × 34 cm (each) works on paper Collection of the Artist Dimensions variable Collection of the Artist Singapore Biennale 2016 commission

N ACM PAGE 60 PAGE 61 Some believe that the first person to Mass-produced plastic stool chairs are found circumnavigate the world was a Malay, everywhere in China. As individual, isolated Panglima Awang (also known as Enrique objects, they appear very ordinary and are of Malacca or Henry the Black), who was easily overlooked – but once they are brought Ferdinand Magellan’s slave and interpreter. together formally, as they are here, they Like other cultural elements historically shared possess a formidable visual strength, conveying across maritime Southeast Asia, the figure of political gravity and a sense of ceremony and Enrique is subject to ownership claims and monumentality. In addition, as an object to be counter-claims between Malaysia, Indonesia and sat on, the stool chair is in direct contact with the Philippines today. Ahmad Fuad’s installation the body, and at that moment, art and the takes the form of a memorial, featuring a individual have a natural connection. This portrait and a statue of an imagined Enrique, artwork considers transformations between together with video documentation, artefacts the daily-used object, the readymade and and copies of documents. By juxtaposing sculpture. In taking this approach the artist contradictory and sometimes fictional colonial, questions perceived reality, and examines the postcolonial and nationalist representations differences between what is true and what of Enrique, the artist alludes to the complexity we see and understand. He hopes to open of Enrique’s intertwined identity and history, up new channels between the reality of the and the fluidity of sociocultural boundaries in everyday and the fiction of art to create Southeast Asia, while addressing the difficulty a new dissociated perspective on what is of verifying the truthfulness of a history. NHK perceived to be true. XLP

Enrique de Malacca Memorial Project (detail); image courtesy of the Artist Image courtesy of the Artist AHMAD FUAD OSMAN MALAYSIA

JIAO XINGTAO CHINA OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SMU

59 SINGAPORE SAKARIN KRUE-ON

B. 1965, MAE HONG SON PROVINCE, THAILAND MANAGEMENT LIVES AND WORKS IN BANGKOK, THAILAND UNIVERSITY DE SUANTIO GALLERY

81 Victoria Street, Singapore 188065 School of Economics & School of Social Sciences, Level 1 (65) 6828 1936; smu.edu.sg

Kra-Tua Taeng Seua (A Tiger Hunt), 2016

000 8 Video installation with black-and-white film, original soundtrack, video documentation and artefacts Dimensions variable Collection of the Artist Singapore Biennale 2016 commission

N ACM PAGE 62 PAGE 63 Kra-Tua Taeng Seua is a traditional folktale about a tiger hunt, once well known throughout southern Thailand. In recent years, the number of traditional theatre troupes performing the play has diminished. Collaborating with one such group, the Wat Khuha Sawan Folk Play Company, Sakarin reimagines the folktale as a work of art reflecting life in a megacity. The artist worked closely with the company to develop all aspects of the artwork, from scripting to costume design, facilitating the production of a community-centric artwork that grapples with the incompatibility between contemporary and traditional ways of life. Comprised of three components – a live performance, a silent film, and a behind-the-scenes documentary accompanied by performance relics and documentation – Sakarin’s retelling of the folktale highlights the agency of art in strengthening societal ties, by serving as the crucial link between disparate lifestyles often dichotomised as the ‘modern’ and the ‘primitive’, and highlighting the fallacy of such divisions. JTZ

Production supported by: Tang Contemporary Art

Kra-Tua Taeng Seua (A Tiger Hunt) (details); images courtesy of the Artist

SAKARIN KRUE-ON THAILAND OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

EVENTS

OPENING AND TOURS CLOSING WEEKENDS

Artist Performances Artist Insights Singapore Biennale Daily Guided Tours Artist and Curator Tours 2016 Celebrates Chia Chuyia Jack Tan Thursday to Friday, Daily Thursday, 27 October 2016 27 to 28 October 2016 Thursday to Sunday, ‘Live’ choral performances by Deepavali [Starting 7 November 2016] Session 1: 7pm–8:15pm 27 to 30 October 2016 Anglo-Chinese Junior College Saturday, 29 October 2016 11am–5pm SAM Session 2: 8:30pm–9:45pm Alumni Choir [Biennale Opening Weekend] 12pm–6:30pm Free with Biennale admission SAM Saturday, 29 October 2016 Saturday, 29 October 2016 Christmas SAM at 8Q Glass Box $15. Tickets available at SAM 2pm–5pm Sunday, 25 December 2016 These guided tours provide 2pm–2:20pm, and SISTIC. Enjoy 20% off a Sakarin Krue-On 3pm–3:20pm and Chinese New Year insight into the artistic Various locations minimum purchase of 4 tickets Thursday, 27 October 2016 4pm–4:20pm Sunday, 29 January 2017 processes behind the when you bring your family Free with Biennale admission 6pm–6:30pm Chamber, The Arts House 11am–6pm Biennale artworks. Tours and friends down for a tour. Level 2 start on 7 November 2016, SAM Be one of the first to view the Free with Biennale admission 1 Old Parliament Lane and are not available Interested in finding out more Biennale artworks, and join Singapore 179429 on public holidays. about the artworks of the Niranjan Rajah Experience the Biennale the artists of the Singapore prestigious Singapore Biennale Friday, 28 October 2016 Free admission artworks in fun and interesting Biennale 2016 as they reveal Tours in English 2016? Come meet the artists ways, and celebrate the 6pm–6:45pm (65) 63326900 the processes behind their behind some of the iconic various festival days with Mondays to Thursdays PAGE 64 work in a series of talks. artworks in the exhibition, PAGE 65 SAM at 8Q theartshouse.sg family-friendly activities. 11am and 2pm as they share more about Azizan Paiman In addition, from 10am to 7pm their art practice during this Fridays Saturday to Sunday, daily on 27 to 28 October 2016 muse@SAM exclusive evening tour through and 10am to 2pm on 29 October Singapore Biennale x 29 to 30 October 2016 11am, 2pm and 7pm the worlds in ‘An Atlas of 2016, a set of eight textile Friday, 28 October 2016 The Local People 10am–11:30am, [Biennale Opening Weekend] Mirrors’, moderated by the hangings with audio recordings Saturdays and Sundays Biennale curators. 1pm–2:30pm and will be presented as part of Friday, 24 February 2017 4pm–5:30pm Sunday, 30 October 2016 11am, 2pm and 3:30pm The Arts House’s iteration [Biennale Closing Weekend] of Hearings. 11am–6pm SAM at 8Q Plaza 7pm–11:30pm Tours in Mandarin Rathin Barman SAM SAM Courtyard Fridays Poetry recital by migrant workers Free Celebrate the Singapore 7:30pm Saturday, 29 October 2016 Biennale 2016 opening with 5pm–6pm Singapore Biennale 2016 the Art Market! Eat, shop Sundays presents monumental Friday SAM at 8Q and chill out with an array of 11:30am evenings at SAM Courtyards locally designed handcrafted with outstanding performances merchandise and artisanal Tours in Japanese by emerging local acts, setting food and drinks. Mondays to Fridays the stage ablaze with their original tunes. 10:30am

Third Saturday of each month 1:30pm

Tours in other languages, including Malay and Tamil, are available upon request. 3 weeks’ advance notice is required. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

EVENTS

TOURS WORKSHOPS OUTREACH

Curator Tours Creative Director Tour The Singapore Biennale Artist Workshops echo Volunteer Programme 2016 Symposium: Spot and reflect at our echo Volunteers play a large part Saturday, 5 November 2016 Wednesday, 16 November 2016 Details to-be-confirmed Why Biennale At All? corners around the galleries, in the success of the Singapore Wednesday, 30 November 2016 Tuesday, 10 January 2017 Tickets available at where you can share your Biennale. Not only are they Saturday to Sunday, SAM and SISTIC Tuesday, 17 January 2017 7:30pm–8:30pm 21 to 22 January 2017 thoughts on the artworks the Biennale’s front-line through questions and activities. ambassadors, they are also Saturday, 4 February 2017 SAM Come take part in a series of Gallery Theatre, involved behind-the-scenes, National Museum of Singapore hands-on workshops led by Wednesday, 15 February 2017 $15. Tickets available at SAM and playing a part in bringing Biennale artists. Get to know the SISTIC. Enjoy 20% off a minimum $90 for 2-day pass Wednesday, 22 February 2017 SBTV art and people together. purchase of 4 tickets when you artists, learn more about their ($70 for students) Get to know the Biennale artists As an extension of the 7:30pm–8:30pm bring your family and friends artworks and gain insight into and curators in these fresh and Singapore Biennale to the down for a tour. $50 for 1-day pass what inspires them and their SAM ($40 for students) fun short films, which feature people, volunteers play a practice. These workshops will key role in setting the tone $10. Tickets available at SAM Join us for the Creative Director’s their practices and processes The Singapore Biennale 2016 be held throughout the course and SISTIC. Enjoy 20% off a take on the Singapore Biennale behind the artworks. and environment of the Symposium contextualises of the Biennale. minimum purchase of 4 tickets 2016! The visionary Dr Susie Biennale for visitors. when you bring your family key ideas and questions about For more details, go to Lingham will bring you on a Visit singaporeartmuseum.sg/ and friends down for a tour. star-lit walking tour spanning biennale modalities and art youtube.com/SAMtelly The Singapore Biennale PAGE 66 singaporebiennale for PAGE 67 several sites. Make your way practices in Southeast, South Volunteer Programme invites Join the Singapore curators of more details. from artwork to selected and East Asia, in relation to people from all walks of life to the Singapore Biennale 2016 artwork, learn about the nation’s the international contemporary The Original Selfie participate. It sets out to provide in an exclusive after-hours tour most distinguished platform art circuit. It will feature Machine and the volunteers with opportunities that focuses on and examines for international dialogue in presentations and conversations Other Selfie Machine to use their unique talents, specific themes in this edition contemporary art, and perhaps between biennale directors, Hunt down our Selfie Machines experiences and knowledge to of the Biennale. Find out even come away with new curators, art historians, writers and bring home a couple of enrich and enhance the Biennale more about the artworks perspectives of the world. and artists. snapshots! Try both machines, experience for other visitors. and curatorial decisions that compare your selfies, and share Through the various volunteer go on behind the scenes in the Scheduled to run over two days your favourites on your social roles, volunteers can build up organisation of the nation’s Mirror Walks during Singapore Art Week in media pages. Don’t forget to their capacity to become art pre-eminent contemporary 2017, the Biennale Symposium Join us for a series of Mirror tag #singaporebiennale. ambassadors who inspire others, art event. asks: Walks as artists and experts Why Biennale At All? and help make contemporary from various disciplines and will be shaped to enable art accessible to all. engage in dialogue about different modes of engagement Treasure Trails a particular artwork or with core issues relating to the How would you like your conceptual strand of the making, scope and experience Biennale experience? Take Singapore Biennale 2016. of in general, with your pick from three different Get ready for the great a special focus on the routes, offering various levels outdoors, and take a region’s expositions. of engagement with the many walking tour of venues artworks across the Biennale’s that mirror the themes of Visit singaporeartmuseum.sg/ nine conceptual zones. Go forth, this prestigious exhibition. singaporebiennale for explore, perhaps even uncover more details. hidden gems! Visit singaporeartmuseum.sg/ singaporebiennale for Map available at Biennale venues. more details. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

SCHOOL PROGRAMMES

Artist Folios School Guided Tours School Workshops Young Art Peer-Led Guide The Biennale artist folios are Schools can request Weekdays Writers Programme Training Programme educational resources that for guided tours of the Session 1: Friday, 11 November 2016 10:30am or 2:30pm educators, parents, students Singapore Biennale 2016. Tuesday to Thursday, Monday, 14 November 2016 and art enthusiasts can use For more information and SAM 1 to 3 November 2016 Wednesday, 16 November 2016 to explore and engage more to submit a request, visit Preschoolers Session 2: deeply with Biennale artworks. singaporeartmuseum.sg/ (4–6 years): $15 per person Monday to Wednesday, Friday, 18 November 2016 A dedicated folio is available for singaporebiennale and 7 to 9 November 2016 Primary school students Monday, 21 November 2016 each Biennale artist, containing download a School (7–12 years): $20 per person 2pm–5pm information about their practice Visit Booking Form. 10am–5pm Secondary school and SAM Glass Hall and artwork, as well as discussion Completed forms should SAM Glass Hall questions, suggested activities, be emailed to education@ tertiary students (13–18 years): $25 per person for $30 per person $10 per person for 1 session, and further reading that visitors singaporeartmuseum.sg 1 three-day session, inclusive of materials, can use to plan or enhance Workshop prices listed above inclusive of materials, refreshments and Biennale include Biennale admission and refreshments and Biennale their visit. Requests must be received by admission to SAM and exclude GST. This programme admission to SAM and the 7th of the preceding month. SAM at 8Q on the day is eligible for the Tote Board SAM at 8Q on the days Artist folios can be downloaded Guided tours are subject to the of the programme. Arts Grant subsidy and endorsed of the programme. free at singaporeartmuseum.sg/ availability of docents. by NAC-AEP for pre-schools. singaporebiennale All prices listed exclude GST. All prices listed exclude GST. Inspired by the Biennale This programme is eligible for the This programme is eligible for the Tote Board Arts Grant subsidy. artworks, these educational Tote Board Arts Grant subsidy. PAGE 68 Self-Directed Visits PAGE 69 workshops will offer students Tours for Educators Educators may book a time and Kick-start a critical discussion Ever feel lost talking about date to bring their students a multidisciplinary and holistic Friday, 18 November 2016* about Biennale artworks at contemporary art? Make that contemporary art experience. on an independent tour of the this 3-day writing workshop. a thing of the past by joining Friday, 25 November 2016* Singapore Biennale. Artist folios Join SAM curator Louis Ho, our friendly and experienced Workshop content ranges from Friday, 17 January 2017* containing detailed information Channel NewsAsia art docents from Friends of the specific art techniques, to about artists and artworks correspondent Mayo Martin Museums as they share their tips 4pm–5:30pm craft-making that encourages are available for download at and art writer Adeline Chia as on guiding. In this 1-day crash SAM originality and teamwork, to singaporeartmuseum.sg/ they demystify and share tips course, students will be trained art-infused drama and writing, Free for educators with a singaporebiennale. During the on how to write persuasively and to guide their peers in soapbox which aid in the development Biennale admission ticket self-directed visit, educators critically about contemporary style using selected Biennale are strongly encouraged to use of language skills and *Registration is required at art. Participants will write a artworks. Suitable for students self-confidence. singaporeartmuseum.sg/ the questions and suggested review in response to an artwork aged 15 years and above. singaporebiennale. activities in these folios to help and selected pieces will be Workshops are for school One tour per educator only. their students engage more featured on the Singapore Please register bookings only, and deeply with the artworks. Biennale 2016–related media through education@ SAM offers specially-tailored accommodate a minimum of platforms. Suitable for students singaporeartmuseum.sg preparatory tours for educators 20 participants and maximum To make a booking aged 15 years and above. who wish to bring students for foryour school, go to of 40 participants. Slots are a visit to the Singapore Biennale limited and available on a singaporeartmuseum.sg/ Please register 2016. During these tours, SAM first-come-first-serve basis, singaporebiennale through education@ curators and education managers from November 2016 to to download a School singaporeartmuseum.sg will explain key concepts and Visit Booking Form. February 2017. highlight educational aspects Completed forms should of selected Biennale artworks. be emailed to education@ Visit singaporeartmuseum.sg/ Educators will also be introduced singaporeartmuseum.sg singaporebiennale to to the Biennale artist folios, download the Educational which have been crafted to Workshop Booking Form. guide students on self-directed Completed forms should visits to the Biennale. be emailed to education@ singaporeartmuseum.sg OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

AFFILIATE PROJECTS

Francis Ng: ArteFACT: A collaborative showcase, emerging and mid-career artists who Institute of Contemporary The Photograph as Atlas Robert Zhao Renhui: the artwork brings together are pursuing new thinking about Arts Singapore The Natural History of an Island Unearthing Relics 26 November 2016 to LASALLE College of the Arts of the Future practitioners from fields matter in time, space and history. 22 January 2017 In this exhibition, the artist spanning education, music and Spanning sculpture, installation, Earl Lu Gallery looks at the natural history of 27 October 2016 to public relations, and invites painting, moving image and sound, 1 McNally Street Singapore in a 100-year frame, 26 February 2017 Singapore 187940 audience participation through the exhibition recognises that based on his collection of artist- and facilitator-led while matter, as a resource, Tuesdays to Sundays, images of Singapore’s natural workshops from 14 to 18 is finite, there are material worlds 12pm–7pm; landscape from the 1900s. Using closed on Mondays November 2016, and from beyond the boundaries of our a self-made mobile expedition 16 to 20 January 2017. current understanding. and public holidays vehicle, the artist explores and Enquiries may be directed Free admission maps out ‘natural’ spaces and to [email protected]. Artworks in the exhibition are the (65) 6496 5134 trees in Singapore, uncovering product of specific encounters Robert Zhao Renhui historical narratives along the and new learning about material. www.lasalle.edu.sg/institute- The Miraculous, from the series, ‘Cingapur’, 2016 way. The project provides an The World Precedes the Eye Firenze Lai, Zeyno Pekünlü and of-contemporary-arts-sg Image courtesy of the Artist overarching view of Singapore’s Francis Ng Ang Song Ming, Cheng Ran, Matt Shimura Nobuhiro present ‘primary’ ArteFACT; Unearthing Relics Indonesia-born Singaporean relationship with its natural Hinkley, Firenze Lai, Nabilah Nordin, documents – paintings, found texts of the Future, 2016 artist Boedi Widjaja has landscape from archival Zeyno Pekünlü, Pratchaya Phinthong, and a ‘factual’ film respectively – Mixed media Shimura Nobuhiro and Zou Zhao designed an architectural and materials to images from the Dimensions variable that measure natural phenomena sound work – a room within present day, and observes Image courtesy of WOWWOWWOW 28 October 2016 to and social precepts. Installations by a room – that links diverse the various ways that we have 1 February 2017 Pratchaya Phinthong and Ang Song conceptual references through altered the landscape based Opening Reception: Ming calibrate matter as a limited his own lived experience on our needs and what we 9 Lock Road, Block 7 27 October 2016, physical resource that is increasingly 6:30pm–8:30pm of migration, culture and desire of nature. Singapore 108937 difficult to extract and control. PAGE 70 aesthetics. Widjaja’s reference PAGE 71 Spoken word by Zou Zhao will Ang Song Nian Mondays to Sundays, points include the Chinese Hanging Heavy On My Eyes, 2016 Ang Song Nian: 10am–7pm reverberate through the vast gallery diaspora, his grandfather’s home Image courtesy of the Artist Hanging Heavy on My Eyes space, and an epic eight-hour film Free admission in China, his own childhood In response to the theme of the by Cheng Ran, In Course of home in Surakarta (Solo), DECK Singapore Biennale 2016, ‘An (65) 6688 8888 the Miraculous (2015), will be the architecture of urban Gallery 1 and Gallery 2 Atlas of Mirrors’, the exhibition screened offsite. 120A Prinsep Street gillmanbarracks.com Singapore, a groundbreaking ‘Hanging Heavy on My Eyes’ Singapore 187937 1932 international architecture looks at the recurring and ‘The World Precedes the Eye’ will be ‘ArteFACT; Unearthing Relics of exhibition, the Black Forest hut Tuesdays to Saturdays, prolonged haze experienced presented in an opened-out exhibition the Future’ explores the concept Shimura Nobuhiro 12pm–7pm; in Singapore and surrounding Japanese cattle (video still), 2015 in where philosopher of space within the context architecture that is intended to Sundays, 12pm–5pm; Super-8 transferred to digital Martin Heidegger lived, and the regions, due to severe air reproach ideas of production value closed on Mondays and effects of modernisation in video, 4:3 aspect ratio, ‘black box turned inside-out’ pollution caused by the black-and-white; sound and ‘the curating of culture’. and public holidays Singapore. As a society and its architecture of the LASALLE increased frequency of forest Duration 20:00 mins people progress, artefacts are Free admission fires in Indonesia. Based on Image courtesy of the Artist and McNally campus itself. The created, remoulded, destroyed the artist’s collection of Yuka Tsuruno Gallery, Tokyo Boedi Widjaja: Black—Hut room takes the form of four dry (65) 6734 6578 and often discarded. Where walls that bisect the painted average recordings of then do artefacts reside or 28 October 2016 to deck.sg Institute of Contemporary plasterboard walls and glass particulate matter 2.5 (PM2.5) find a place they belong to? 1 February 2017 data, the exhibition revisits Arts Singapore façade of the Earl Lu Gallery. This exhibition looks at Opening Reception: LASALLE College of the Arts Their orientation highlights photography’s role as a mirror the artist’s experience with An outdoor art installation 27 October 2016, Gallery 1 three existing columns, creating of history that can be both the discomfort and unease of located in the visual arts 1 McNally Street 6:30pm–8:30pm a new reference point between objective and subjective at reduced visibility – a result precinct of Gillman Barracks, Singapore 187940 them. A pigmented, custom- the same time. It explores the of conditions that have been ‘ArteFACT’ explores the idea Tuesdays to Sundays, formulated concrete, salt and navigation and creation of created by human beings’ of personal and public spaces, 12pm–7pm; mica mix that will crack and history through photographs, and continuous attempts to and how one conceives of space closed on Mondays change colour over time has how – as much as they serve as a control, intervene in and through installations, objects, and public holidays been applied to the interior record of history – photographs manipulate landscapes and navigations and memories. Free admission of the walls. may also be manipulated the environment according ‘ArteFACT’ aims to engender and navigated in new ways, to our narrow-minded agenda. conversations about our past, (65) 6496 5134 Black—Hut has been proving that they are not as present and aspirations for www.lasalle.edu.sg/institute- developed with the support faithful as they seem to be. the future, and explore what it of-contemporary-arts-sg Boedi Widjaja at his of LWC Alliance. means to hold on to a piece childhood home in Surakarta, Indonesia, 2012 of Singapore. ‘The World Precedes the Eye’ Photo: Audrey Koh examines the work of nine OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PARALLEL PROJECTS

SINGAPORE ART MUSEUM (SAM)

71 Bras Basah Road Learning Gallery: Think! Contemporary Project a|edge 2017 Singapore 189555 Once Upon This Island Exhibition 2016 Dreamcatchers 2016: Art Educators’ Developmental Into the Looking Glass Saturdays to Thursdays, Ongoing 6 October to and Generative Explorations 10am–7pm; 13 November 2016 9 December 2016 to 17 February to Fridays, The Learning Gallery presents 22 January 2017 19 March 2017 10am–9pm artworks selected to promote The Think! Contemporary Free admission for engagement and discussion Programme is a museum- Project Dreamcatchers is ‘a|edge’ is an annual art Learning Galleries and of broader issues through based school programme that an initiative to help young exhibition organised by Community Exhibitions contemporary art. ‘Once Upon advocates learning through art people living with chronic Singapore Teachers’ Academy at the Singapore Art Museum. illness express their aspirations (65) 6589 9580 This Island’ is the latest show for the aRts (STAR) to exploring the stories and Integrating school curriculum through art, despite the odds encourage educator-artists in singaporeartmuseum.sg lives that surround us and with museum visits, the Think! they face. This year’s exhibition, school to continue to hone their abound on this island-nation. Contemporary Programme ‘Into the Looking Glass’, invites art practices and enhance the Featuring selected works from employs artworks from ‘Once visitors to enter the world of professional excellence of the the Singapore Art Museum’s Upon This Island’, the current our Dreamcatchers as they fraternity. Building off the permanent collection as well as exhibition presented in SAM’s embark on an immersive journey theme of ‘An Atlas of Mirrors’, new commissions, ‘Once Upon Learning Gallery, as a primary through memories, perception PAGE 72 ‘a|edge 2017’ showcases works PAGE 73 This Island’ navigates ideas of resource for the classroom and imagination. The exhibition by educator-artists who have home, community, identity and teaching and learning of presents visual artworks embarked on journeys of memory, and raises pertinent English, Art, Social Studies created in collaboration with artistic inquiry into myriad and timely questions on what it and other subjects. The ‘Think! Singaporean artists and creative lived experiences and imagined means to live in contemporary Contemporary Exhibition 2016’ professionals. In the process, worlds. The works, created in a Singapore – an urbanised, is a culmination of six schools’ the young people and their range of media, reveal how ever-changing city-state and involvement in the programme collaborators embolden each educator-artists navigate the island, set between peninsula this year. The artworks on other to see the world afresh. complexities of materials and archipelago. display are responses to the This initiative is proudly brought and ideas, wrestling between issues and ideas investigated in to you by the Department of the tangible and intangible. the Learning Gallery, and explore Paediatrics, National University In making these journeys visible, the themes of family, home, Hospital in partnership with the the educator-artists present new community, identity and the Singapore Art Museum. roadmaps to ways of seeing environment. and experiencing our world. With support from: National Arts Council, Tanglin Club and Tote Board & Singapore Turf Club. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PARALLEL PROJECTS

NATIONAL MUSEUM MALAY INDIAN ADM ALOFT ARTSCIENCE OF SINGAPORE HERITAGE CENTRE HERITAGE CENTRE GALLERY AT HERMÈS MUSEUM

93 Stamford Road 85 Sultan Gate 5 Campbell Lane School of Art, Design and Media Liat Towers 10 Bayfront Avenue Singapore 178897 Singapore 198501 Singapore 209924 81 Nanyang Drive, Level 1 541 Orchard Road, #01-02A Singapore 018956 Nanyang Technological University Singapore 238881 Mondays to Sundays, Tuesdays to Sundays, Tuesdays to Thursdays, Mondays to Sundays, Singapore 637458 10am–7pm 10am–6pm; 10am–7pm; Mondays to Sundays, 10am–7pm closed on Mondays Fridays to Saturdays, Mondays to Fridays, 10:30am–8pm Adults $10; 10am–8pm; 9am–5pm; Adults $17; students and Adults $4; Free admission students, senior citizens and Sundays and public holidays, closed on weekends senior citizens $14; children $7 persons with disabilities $5 students and senior citizens $2; Singapore citizens and 10am–4pm; and public holidays (65) 6738 9807 families (max 5 persons) $12 Free admission for Singapore closed on Mondays permanent residents: adults $14; citizens and permanent residents, Free admission for Singapore Free admission fondationdentreprisehermes.org students and senior citizens $11; and children of 6 years and below citizens and permanent residents; Adults $4; children $7 (65) 6513 8679 groups of 20 adults and above students and senior citizens $2 (65) 6332 3659 (65) 6688 8888 enjoy 20% off Free admission for Singapore gallery.adm.ntu.edu.sg Here from Here nationalmuseum.sg citizens and permanent residents marinabaysands.com/ (65) 6391 0450 28 October 2016 to (65) 6291 1601 ArtScienceMuseum malayheritage.org.sg/en Mapping Macrocosms 5 February 2017 indianheritage.org.sg/en What is Not Visible 21 October 2016 to In this most recent work by Journey to Infinity: is Not Invisible 28 January 2017 Agathe de Bailliencourt, ‘Here

PAGE 74 Mereka Utusan: Escher’s World of Wonder PAGE 75 from Here’ addresses the 7 October 2016 to Imprinting Malay Once Upon a Time ‘Mapping Macrocosms’ is a question of being present – 24 September 2016 to 19 February 2017 Modernity, 1920s–1960s in Little India response to the Singapore “being where you are when 5 February 2017 This exhibition broadly surveys 16 October 2016 to 22 October 2016 to Biennale 2016. ADM Gallery’s you’re there” (Roni Horn). 21 July 2017 ‘Journey to Infinity: Escher’s the imaginary and the temporary 25 June 2017 contribution will showcase Comprising individually painted through 40 selected artworks artists whose works reflect on World of Wonder’ is a major Overseas Indian communities gravel pieces, layered and from the French Regional ‘Mereka Utusan’ presents diverse visions of the world, retrospective of artworks by often reproduce practices, arranged to form an abstract Collections of Contemporary Art insights into the development its living environments as well graphic artist and master of values, language, dress, food landscape, de Bailliencourt (FRAC). The title and design of of Malay modernity and as how time has reshaped mathematical representations and religion as manifestations challenges the romantic image this exhibition take inspiration identity through the language these perspectives. Featuring M.C. Escher. Step inside his of their root heritage and of the horizon, traditionally from the artwork of the same of advertisements and editorial artists from a broad span of playful world of imagination cultures. This phenomenon a projection of a past and/or title by French Artist Julien cartoons produced during disciplines, from sculpture to and wonder – of poetic is often accompanied by the future without contradiction Discrit. The visual paradox the 1920s to 1960s. The video to architectonic and geometry, strange realities creation of hubs of activity or conflict. In its material initiated in Discrit’s artwork sets 1920s witnessed the growth interactive design, the works in and impossible constructions. akin to the idea of a ‘Little and theme, ‘Here from Here’ the premise for the deep-seeded of Malay publishing houses, ‘Mapping Macrocosms’ provide a Featuring over 150 original India’. This exhibition presents references a Japanese Zen themes that resonate throughout which played a central role in different entry point into artistic works, the exhibition is a the history and evolution of garden, offering a moment the exhibition. The artworks the politics, commerce and endeavour, and collectively map retrospective of his enigmatic Singapore’s cosmopolitan Little or situation of being there, or by French and international entertainment of the Straits and mediate pre-established sketches and paradoxical India through historical and better, here – a physical place artists navigate a journey Settlements and the Malay notions of the universe. designs, executed with contemporary lenses. Besides and a moment in time. through both the philosophical Peninsula. Newspapers and incredible mathematical an eclectic mix of historical and the physical by means of magazines gained momentum precision and, in his most artefacts from the centre’s unconventional approaches in from various nationalist famous masterpieces, collection alongside loans from art-making. They encourage movements in the 1920s, and representing infinity. the Indian community, it also audiences to interact with and invigorated Malay communities features exciting site-specific explore the intangible and the through widespread coverage works by artists such as K. emotional, and the relationship and commentary on these Rajagopal, Kumari Nahappan between the abstract, the events. They therefore created a space (mereka) for the coverage and Navin Rawanchaikul as organic and the structured. and development of news expressed through film and items, influencing a modern contemporary art installations. generation of readers, writers and consumers (utusan). OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PARALLEL PROJECTS

MAMAKAN NANYANG NATIONAL NTU CENTRE FOR EXPERIENCE ACADEMY GALLERY CONTEMPORARY OF FINE ARTS SINGAPORE ART SINGAPORE (NTU CCA SINGAPORE)

mamakan.com Artist Tours @ Bras Basah Draw connections between food, Campus 1 1 St Andrew’s Road Gillman Barracks art, memory, history and culture 80 Bencoolen Street Singapore 178957 Malan Road, Block 43 Email [email protected] & Fort Canning in this sensory experience that Singapore 189655 Singapore 109443 for more information 5 November 2016 and Sundays to Thursdays, 7 January 2017 will change how you experience Free admission 10am–7pm; Tuesdays to Sundays, your surroundings. Fridays to Saturdays, 12pm–7pm; 5 December 2016 and (65) 6512 4000 10am–10pm Fridays, Installation at 5 February 2017 Taste the artworks in this mobile nafa.edu.sg 12pm–9pm; Fort Canning Free admission Selected Saturdays experience with food explorers closed on Mondays 27 October 2016 to (65) 6271 7000 and Sundays Kristine Oustrup Laureijs, Laletha Free admission 26 February 2017 Nithiyanandan and Steve Chua JUST SHIFT nationalgallery.sg 8:30am–11:30am (65) 6460 0300 Daily as they bring you on an artistic 9 to 23 January 2017 Meeting place: food experience through various “I” will also be exhibited in China ntu.ccasingapore.org 4pm–11pm SAM at 8Q sites in the heart of Singapore. In this constellation of artistic at Eslite Spectrum, from FORT by Maison Ikkoku 8 Queen Street Participants will get to taste and perspectives, artists from the 7 January to 12 February 2017 5 Cox Terrace Singapore 188535 identify local flora, and bring Nanyang Academy of Fine Incomplete Urbanism: PAGE 76 Singapore 179620 Ending place: PAGE 77 home something exquisite. Arts will showcase works that Attempts of Critical FORT by Maison Ikkoku Free admission are process-driven by material I Spatial Practice 5 Cox Terrace choices and manipulation, or left Cheng Yuhuai, Dai Xiaorong, Singapore 179620 Register at mamakan.com or 29 October 2016 to Installation at Niven Road Lin Keh-Hua, Wang Jie, Yu Yang, email [email protected] unfinished. This imagined space 29 January 2017 27 October to $65 for tasters, map and for more information. showcases an experimental Zhang Xuru, Zhao Guang, 30 November 2016 a limited edition piece of exhibition and the performance Zhou Xianglin ‘Incomplete Urbanism’ is an edible artwork Wednesdays to Sundays of participating lecturers from 13 to 28 February 2017 exhibition that serves as a the Fine Arts programme. laboratory of ideas, exploring 11am–7pm Artist Tours @ Niven Road & Mount Emily Befitting the theme of the the indeterminacy and WOWhaus Singapore Biennale 2016, changeability of urban living. 23 Niven Road 29 October and ‘An Atlas of Mirrors’, the Borrowing its title from eminent 12 November 2016 Singapore 228370 same creative proposal will Singaporean architect William Free admission 6 and 20 November 2016 be presented in Singapore S.W. Lim’s book, Incomplete and Suzhou simultaneously, Selected Saturdays Urbanism: A Critical Urban Two GastroGeography of and Sundays each echoing the other like a Strategy for Emerging Singapore exhibitions feature a mirror image. In Suzhou, the Economies (2011/2012), this 8:30am–11:30am hand-drawn secret treasure map subject of the artworks is ‘I’. project has multiple components. with hand-picked specimens Meeting and ending place: It investigates the relationship Taking Lim’s practice and the of edible plants, flowers and WOWhaus between human beings and the initiatives of the Asian Urban fruits found in the very heart of 23 Niven Road world, and human exploration Lab as a point of departure, bustling Singapore. Check out the Singapore 228370 and discovery of the world on ‘Incomplete Urbanism’ presents hundreds of natural Singaporean $65 for tasters, map and three levels: ‘Me, Hence World’, various researches into the specimens preserved in the a limited edition piece of ‘Non-Me, Hence Non-World’, spatial and cultural aspects of finest Scandinavian vodka. These edible artwork and ‘No Me, Hence No World’. city life. Set against historical installations will awaken your Combining installation, music, narratives, this exhibition seeks Thrill your senses, and let senses as you tour the paths of performance and moving image, to create a dynamic space Mother Nature lead you on a hidden urban wonders. With the the artworks make music with engaging urban issues, gastronomic expedition. Join the premiere of GastroGeography daily objects that correspond addressing how urbanity team behind The Mamakan Art of Singapore, The Mamakan Art to the five elements in Chinese is engineered, claimed/ Collective of Food Explorers for a Collective of Food Explorers tradition: metal, wood, water, disclaimed, sensed and series of food and art adventures opens up a whole new movement fire, and earth. sensitised; and proposes with mobile picnics, exhibitions, of edible art. and discusses ways for interactive games and more! imagining future habitats. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PARALLEL PROJECTS

NTU CENTRE FOR NUS SCULPTURE SOCIETY SINGAPORE CONTEMPORARY MUSEUM (SINGAPORE) TYLER PRINT ART SINGAPORE INSTITUTE (NTU CCA SINGAPORE)

Summit: University Cultural Centre 155 Middle Road sculpturesociety.org.sg Singapore International 41 Robertson Quay The Impossibility of 50 Kent Ridge Crescent Singapore 188977 Miniature Sculpture Singapore 238236 National University of Singapore Mapping (Urban Asia) Tuesdays to Saturdays, Exhibition 2017: Insight Mondays to Fridays, Singapore 119279 Sculpture Society 24 to 26 November 2016 12pm–7pm; 10 to 15 January 2017 10am–7pm; Mondays reserved for Sundays, (Singapore) Outdoor Saturdays, appointment-only visits 12pm–4pm; Sculpture Exhibition Visual 9am–6pm; by schools and faculty; closed on Mondays 2017: Sight 10 Penang Road, #01-02 closed on Mondays On the occasion of ‘Incomplete Tuesdays to Saturdays, and public holidays Dhoby Ghaut Green Urbanism’, NTU CCA Singapore 10am–6pm; 10 January to Singapore 238469 Free admission will organise a three-day summit, Free admission 26 February 2017 closed on Sundays Mondays to Sundays, (65) 6336 3663 ‘The Impossibility of Mapping and public holidays (65) 6336 2957 Dhoby Ghaut Green (beside 11am–8pm; stpi.com.sg (Urban Asia)’, to extend what Dhoby Ghaut MRT Station) Free admission objectifs.com.sg visits on public holidays is presented spatially in the by appointment only exhibition. This summit provides (65) 6516 8817 Our field of vision is one of Free admission a public platform for cross- meanings and not just shapes, Paper – Sight nus.edu.sg/cfa/museum Women in Film and

PAGE 78 dialogue and exchange between forms and colours. Norman 25 September to PAGE 79 Photography In our daily experience, Bryson declared, “When I look, 5 November 2016 urban researchers, cultural we interact with the world producers, artists and architects Riau by Zai Kuning 19 October to what I see is not simply light mainly through how we see, ‘Paper – Sight’ marks Japanese to, as William S.W. Lim says, 20 November 2016 but intelligible forms.” At this 25 October 2016 unconsciously equating ‘seeing’ outdoor sculpture exhibition, artist Shinro Ohtake’s “imagine the unimaginable”. with ‘knowledge’. Without 7:30pm The second edition of ‘Women experience and learn about the extraordinary endeavour in discernment or insight, might in Film and Photography’ will visions behind the sculptures print- and paper-making, one be easily caught in Paul Riau is a 30-minute film showcase documentary works and installations as artists reflect where his usual practice of Virilio’s “vision machine”? which documents Zai Kuning’s by the women photographers on issues or events in their lives. collecting, chronicling and period of stay with the Orang who have been associated with In this second edition of the re-representing the contents Laut (sea gypsies) in a nomadic the Magnum Foundation. miniature sculpture exhibition of life is appropriated in a fishing village around the Riau The images cover a wide organised by Sculpture Society medley of new materials, islands. Weaving recorded range of international issues (Singapore), artists explore techniques and multi-neon impressions of their daily life that deserve wider attention, today’s visual world and culture, colour palettes – in particular, with the artist’s anecdotes, often depicting the triumph and reflect on the connection neon yellow, referencing uranium the film is an intimation of the of the human spirit under between ‘seeing’ and ‘knowing’. (“yellowcake”) and radiation. dislocated histories embodied difficult circumstances. The This unapologetic body of by the Orang Laut. This film photographers featured include work emanates from Ohtake’s screening is presented as an Sim Chiyin and Tanya Habjouqa. preoccupation with a sense of opening event for ‘There are life’s transience, capturing the too many episodes of people very density of the layers of time coming here’, an exhibition that and its experience. Highlights examines particular sites around include a series of large-scale Singapore and the currency of fluorescent paper pulp paintings their histories. The screening and a 320-page sculptural will be followed by a panel scrapbook that parallel his discussion between Zai and art ongoing ‘Scrapbook’ series of historian T.K. Sabapathy. 68 artist books spanning nearly four decades. The event is open to the public via registration, at [email protected] OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

PARALLEL PROMOTIONS PROJECTS & SPECIALS

TELOK KURAU THE THE SINGAPORE BIENNALE 2016 STUDIOS GALLERY PRIVATE MUSEUM SUBSTATION OFFERINGS FOR VISITORS

91 Lorong J Telok Kurau 51 Waterloo Street 45 Armenian Street Enjoy the following 7 Kickstart Strictly Pancakes Singapore 425985 #02-06 Singapore 179936 promotions when presenting 71 Bras Basah Road 44A Prinsep Street Singapore 187969 Singapore 189555 Prinsep Place Mondays to Sundays, Mondays to Fridays, the Singapore Biennale 2016 Singapore 188674 11am–7pm 9am–6pm; SISTIC ticket or ticket stub at Mondays to Fridays, Like the 7 Kickstart 10am–7pm; closed on weekends the point of purchase. (65) 6333 4202 (65) 6348 6133 Facebook page for Saturdays to Sundays, Free admission facebook.com/TheKoolArtists 11am–5pm; Unless otherwise stated, 10% off total bill 10% off total bill visits on public holidays (65) 6337 7535 all promotions are valid and other timings by substation.org from 27 October 2016 to The Kool Artists: appointment only 26 February 2017 and for Merely Ice Cream Tanuki Raw at Kapok 91 Bencoolen Street Qi@art Free admission one-time redemption per 111 Middle Road #01-13 A Home For the Arts ticket only. National Design Centre, #01-05 12 November to (65) 6738 2872 Singapore 189652 Singapore 188969 4 December 2016 1 to 30 November 2016 theprivatemuseum.org Not valid with other (65) 6238 0890 10% off a la carte items ‘The Kool Artists: Qi@art’ promotions and discounts. With art spaces being asked to 10% off total bill is a show of sculpture and play a part in cultural place- Terms and offers may . It demonstrates Ahmad Abu Bakar be amended without

PAGE 80 making, perhaps the way we The Library PAGE 81 the spirit of the artists, who & Suriani Suratman: prior notice. have envisioned The Substation Soi 55 9 Bras Basah Road work within the confluence Tanah Air (Homeland) is inadequate. What if we One Shenton Rendezvous Hotel Singapore of Eastern and Western 26 October to fully embraced the logic and #01-09 Singapore 189559 perspectives in Singapore. 23 December 2016 operations of cultural place- Singapore 068803 (65) 6336 0220 In Chinese, the characters making? What kinds of facilities, This exhibition will showcase 艺气 (yi qi) are homophonous infrastructure and programmes 1-for-1 drinks 1-for-1 deals during Happy Hour a new series of ceramic works, with 义气 (yi qi), which means would we need? from 3pm-9pm daily fraternity, loyalty and honour in which two established ceramic artists dialogue on the – communicating an implicit Taking a playful approach to Standing Sushi Bar (at 8Q) prominence of tanah (land) and wish for the circle of artists to space, venue, and function, 8 Queen Street Tom’s Palette air (water) as resources in one’s SAM at 8Q, #01-03 support each other. The show is we reimagine what our 25-year- 100 Beach Road homeland. Ahmad Abu Bakar Singapore 188535 inclusive and diverse, featuring old tagline, ‘A Home for the Shaw Tower, #01-25 expresses his relationship with traditional and contemporary Arts’, might represent in today’s (65) 6333 1335 Singapore 189702 the land as a gift from Mother works of more than 18 artists cultural economy. Inevitably, this Nature and as a component (65) 6296 5239 from three generations. experiment also asks how we Salmon Sashimi at only $5 of his identity, while Suriani value, engage and participate (limited to 1 order per table) 10% off total bill Suratman addresses the Register for free workshops in the arts. and artist talks at importance and necessity of [email protected]. water in its form of rain and river, as a source of life and giving. Through the use of clay as a unified medium of artistic expression, the exhibition reflects the artists’ exploration of the shared historical origins of the region and the notion of the ‘homeland’ as a mirror to one’s identity. OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

ACKNOWLEDGEMENTS

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CREDITS

Singapore Singapore Biennale 2016 Art Museum

Singapore Biennale 2016 Singapore Art Estates & Security Programmes Graphic Design & Advisory Committee Museum Board Musa Bharoocha Tan Shir Ee Website Development Neo Kok Meng Tan Chee Sean Couple c/o Co-Chairs Chair Philip Tan Wang Tingting Singapore Art Museum 71 Bras Basah Road Jane Ittogi Jane Ittogi Bertrum Leong Joleen Keizer Additional Singapore 189555 Kathy Lai Shirley Khng Exhibition Design (65) 6589 9580 Board Members Exhibitions Mazliana Mahat Sebastian Chun Curatorial Committee Chong Siak Ching Derrick Yam Eunice Poh © 2016 Singapore Art Museum Chair & Advisor Philip Antony Jeyaretnam Lim Yeow Ann Santha Anthony Copy Editor © 2016 Individual contributors T.K. Sabapathy Kenneth Choe Teo Loo Bing Huan See Yu-Mei Balasingamchow Larry Kwa All works are © the artists unless Brian McAdoo Chua Qing Hui otherwise stated. Information correct Members Collin Tseng-Liu Jumari Sainon Nur Effa Syazwina Exhibition Fabricators at the time of publication. Ahmad Mashadi Zulkifli Bin Baharudin Roslee Mohd Noor AE Team Pte Ltd Chua Beng Huat Ronny C. T. Tan Visitor Services Spacelogic Pte Ltd All rights reserved. Apart from any fair Huzir Sulaiman Wee Teng Wen Exhibition Design Timothy Tan dealing for the purposes of private study, Jeannette Foo research, criticism, or review, no part of Michelle Lim Jessica Lee Exhibition Art-Handlers this publication may be reproduced, stored Teh Joo Heng Ex-Officio Members Vincent Lee Rhema Events & Arts in a retrieval system, or transmitted in June Yap Yeo Whee Jim, Finance & Siva Kumar Services Pte Ltd

PAGE 84 any form or by any means, electronic, Yeo Whee Jim Ministry of Culture, Corporate Governance Benny Goh Helu-Trans (S) Pte Ltd PAGE 85 mechanical, photocopying, recording, Community and Youth Terence Chong Faris Nakamura or otherwise, without prior written Chow Mee Khi consent from the publisher. Ex-Officio Members Kathy Lai, National Seow Yuih San Insurance Low Eng Teong, Arts Council Hong Lay Ting Nurhanaan Mohamed Ali Marsh (Singapore) The publisher does not warrant or National Arts Council Emilyn Nadiah Pte Ltd assume any legal responsibilities for Paul Tan, Volunteers the publication’s contents. All opinions National Arts Council Chair & CEO’s Office Human Resource Special thanks to Media Relations expressed in this book are of the authors Doreen Chan & Admin all the volunteers Phish Communications and do not necessarily reflect those Wendy Lim of the Singapore Art Museum. ORGANISED BY involved in Singapore Creative Director Communications, Vincent Lim Biennale 2016 Media Agency Linda Lee Editor: Susie Lingham International Relations, Starcom Media Susie Lingham Creatives Cai Yancong Worldwide Curators Lynn Sim Artwork Entries Managing Editor: Andrea Fam Priscilla Li IT Research Agency Joyce Toh AF Andrea Fam Suman Gopinath Adlyne Kang Eugene Poh Research Plus Muhd Syakir Juraimi SG Suman Gopinath Copy Editor: COMMISSIONED BY Louis Ho Anmari Van LH Louis Ho Yu-Mei Balasingamchow Michael Lee Nieuwenhove Videographer & SBTV Nur Hanim Khairuddin Sherlyn Wong Operations & Hospitality ML Michael Lee The Creative Room Editorial Assistants: Tan Siuli Stephanie Wong Roland Choo NHK Nur Hanim Cai Peixuan Ramona Raj Joyce Toh Edeline Lee Khairuddin Guided Tours Project Management John Tung TSL Tan Siuli Friends of the Museums Design: Xiang Liping Curatorial & Collections Liew Wee Wen (Singapore) JTH Joyce Toh Huishan Couple Tan Siuli Anisah Aidid Museum Volunteers JTZ John Tung Zhiwen General Manager Andrew Lee Printer: SUPPORTED BY Joyce Toh Chinese Docent Group XLP Xiang Liping Allegro Print Pte Ltd Liew Wee Wen Louis Ho Andre Wang Andrea Fam Vanessa Tan Peer-Led Guide ISBN: John Tung Ashley Yuen Training Programme 978-981-11-1163-1 Chu Chu Yuan Friends of the Museums Teng Yen Hui (Singapore) Aimilia Safuan Wong Seet Fun Cai Peixuan Beth C. Fredericks Ramona Raj OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016

CREDITS

Artist Folios (Copy Editor) Singapore Management National Council Azizan Paiman Patricia Perez Eustaquio Jiao Xingtao Phuong Linh Nguyen Nobuaki Takekawa Ibrahim Tahir University of Social Service Badrul Hisham Sofian Bespoke Trading, Feng Yuliang Arts Collaboratory Akira the Hustler Nicholas Song Dr Nura Abdul Karim, Farizul Puadi Philippines Yang Xidong Japan Foundation Hanoi BuBu de la Madeleine School Workshops T&K Worldwide Singapore Botanic Final year students, Silverlens Galleries, Nha San Collective, Ms. Glorias Amazing Art Shuttle Commerce Pte Ltd Gardens Department, Philippines Sanjay Kak Vietnam Rachel D’Amour Pte Ltd Tang Contemporary Art Marcel Ong Technology MARA, Aijaz Hussain ArtzBeatz Pte Ltd Juliana Tong Salima Hashmi Perak Faizal Hamdan Umar Meraj Perception3 Jack Tan Art Loft LLP Torene Project Singapore Botanic Dr Md. Yusof Hamid The Artist’s family Lisa Rath Sara Ang Anglo-Chinese Junior Mastereign Enrichment Gardens Ishan Tankha Jimmy Ye College, Singapore Pte Ltd Singapore Land Authority Rathin Barman Dex Fernandez Community Justice Special Thanks Singapore Management Bangladeshi migrant Herminia Fernandez Sakarin Krue-On Pala Pothupitiye Centre, Singapore Young Art Writers Arundhati Ghosh and University workers in Singapore Dianne Labadia Pramote Chaowalit Suresh Jayaram Leonard Lee Programme India Foundation for Professor Arnoud Dibashram Glenn Mark Labadia Preecha Khamthap Janananda Laksiri Darius Ou Mayo Martin the Arts, Bangalore De Meyer, President A.K.M. Mohsin, Soika “Speak Thai Youth Lalith Manage State Courts and Adeline Chia Bao Jing Associate Professor Banglar Kantha, Performance group” Mullegama Art Center, Family Justice Courts Diana Campbell Kwok Kian Chow, Singapore Fyerool Darma Wat Kuhasawan Sri Lanka of Singapore Mirror Walks Betancourt Program Leader, Farhan Darma Community, Bangkok The Arts House, Perception3 Capitol Investment Arts and Culture Hemali Bhuta Razalee Eepsooni Qiu Zhijie Singapore The Mamakan Art Holdings Pte Ltd Management Program Sree Goswami Tengku Syawal Tengku Marine Ky Zhang Lulu Collective of Chen Hongtu Leila Thayalan, Shreyas Karle Aziz and family Catherine Cousins Melissa Tan Food Explorers Heleston Chew Head, Corporate Pierre Huber Collection, Wardah Mohamad Pichery Chan Niranjan Rajah Kayleigh Goh Chong Siak Ching, Communications Switzerland Karot Choeung Durga Rajah Christiaan Ramesh Symposium CEO, National Syed Omar Husain Abeer Gupta Sokyoeun & team Zuraini Anuar Haridas National Museum Gallery Singapore Rosemary Tan Bui Cong Khanh Nusrat Andrabi Gordon Koh of Singapore Rosa Daniel, Tan Siok Sun Cultural Development Tanveer Hussain Khan Phasao Lao & Tcheu Siong Sharmiza Abu Hassan Shirly Koh PAGE 86 Singapore Management CEO, National Tan Tarn How and Exchange Fund Neerja Mattoo Jean-Pierre Dovat, Burhanuddin Bakri Cynthia Delaney Suwito PAGE 87 University School Heritage Board Angelita Teo, Director, (CDEF), Vietnam Ilyas Wali Project-Space Nora Samasudin of Social Sciences Emi Eu National Museum Prince Claus Fund, Luang Prabang Mizan Kamaruzaman Tan Zi Hao Dr Hoe Su Fern Faisal Husni of Singapore Netherlands Gregory Halili Rik Gadella Mohd. Amirul Fadzil Vincent Leong Faizal Elis John Teo, Sàn Art, Vietnam Nelson Devanadera, Mohd. Erwan Kaseh Wang Jiabao and family Lenders Hotel Grand Pacific General Manager, The Factory Palawan Council H.H. Lim Associate Professor Experimenter, Kolkata Hotel Royal @ Queens Peranakan Museum Contemporary Arts for Sustainable Viviana Guadagno Ramlan Abdullah Ryan Villamael Nausheen Faiz Suresh Jayaram Kennie Ting, Director, Centre, Vietnam Development Infinite Frameworks Shah Freeza Azmi Raymond Ang Shehnaz & Maya Ismail Koh Hui Ting Asian Civilisations Tran Minh Thai Ann Gacot, RAM radioartemobile, Candy D. Sibin Ateneo , Tarun Kataria LASALLE College Museum Palawan Council Rome The Artist’s family Philippines Kirin Nadar Museum of the Arts Johannes Julian Tjendro David Chan for Sustainable Zakaria Sharif Nona Garcia of Art, New Delhi Professor Steve Wang Huiqin Gladys Chow Development Lim Soo Ngee Jeremy Guiab Renu Modi, Gallery Dixon, President Rebecca Wong Liao Jun Hui Jewelmer Pearl Farms, Professor Lai Yat Fong Nilima Sheikh Silverlens Galleries, Espace, New Delhi Barbra Gan, Jamie Tan Philippines Sanjay Soni Philippines Axton Salim Vice President, Tang Wai Wah Ana Labrador, Made Djirna The family of Mamta Singhania Strategic The Artists would National Museum Jean Couteau Vishnu Prasad Xiao Lu Developments like to thank: Chia Chuyia of the Philippines Eric Laoh Jadia, Mathura Wang Huiqin Artwork Production Lee Chor Lin, Chief Nanyang Academy of Silverlens Galleries, Supporters Executive Officer, Ahmad Fuad Osman Fine Arts, Singapore Philippines Map Office Adeela Suleman Pannaphan Yodmanee AE Models Team Pte Ltd Arts House Limited Angela Hijjas Susanne Paulli Jaimey Hamilton Faris, Nausheen Faiz United Overseas Bank Kelvin Ang Gwen Lee Hijjas Kasturi Joakim Stampe Han Sai Por University of Hawai’i Taimur Hassan (Thai) PCL Jimmy Chua Albert Lim, Astro Jaafar Ismail Amy Lee at Manoa Maya Inayat Ismail Ho Hui May Scientific Centre Annie T. Lim Chou Shih Hsiung Soh Chee Hui Sameera Raja Zang Honghua & Wen Pulin Infinite Frameworks Pte Ltd, Singapore Taipei Fine Arts Museum Tan Shin Tiong Munem Wasif Feng Yang Lawangwangi Lingo Hsieh Martha Atienza Taiwan Glass Ind Corp Teo Huey Ling Rathin Barman Eddy Susanto Zhu Jinjing Creative Space Liu Dong Ateneo Art Gallery, Taiwan Lube Oil Co Ltd Aileen Toh Diana Campbell Aan Andonowati, Bervyn Lee Low Seow Juan Philippines Xue Xue Institute Betancourt Lawangwangi Nanyang Academy Media Development Jeremy Guiab Agan Harahap Mahbubur Rahman Creative Space of Fine Arts Authority and Board Silverlens Galleries, Deng Guoyuan Alexander Supartono Aveek Sen Carla Bianpoen Axton Salim of Film Censors Philippines Che Jianquan Tanzim Wahab Padepokan Naga Air, Ethan Seow Ministry of Superproject, Deng Guoyuan Studio Yogyakarta Sharp Foreign Affairs Netherlands Li Hongyu Technical Team Tan Xun OF MIRRORS OF MIRRORS AN ATLAS AN AN ATLAS

SINGAPORE BIENNALE 2016

SEA OF JAPAN

SOUTH KOREA JAPAN

YELLOW SEA CHINA

PAKISTAN

EAST CHINA SEA TAIWAN BANGLADESH HONG KONG

INDIA MYANMAR TROPIC OF CANCER LAOS

THAILAND PHILIPPINES PHILIPPINE SEA VIETNAM BAY OF SOUTH BENGAL CAMBODIA CHINA SEA

ANDAMAN SRI LANKA SEA

MALAYSIA BRUNEI

SINGAPORE

EQUATOR

INDONESIA JAVA FLORES The front and back covers SEA SEA of the Singapore Biennale 2016 Short Guide depict the two ancient supercontinents Laurasia and Gondwana. During the breakup of Pangaea some 200 million years ago, TIMOR SEA Gondwana separated from Laurasia. Today, most of the land masses that make up the continents in the Northern Hemisphere were once part of Laurasia, while TROPIC OF CAPRICORN Gondwana included most of the landmasses that now comprise the Southern Hemisphere.

The outline of Laurasia and Gondwana here draws from various interpretations of the supercontinents, juxtaposed with the central image that is OF MIRRORS AN ATLAS AN a composite of modern day maps. ORGANISED BY

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