DOCSLIB.ORG

Brief History of the Artists Village the Artists Village Registered As a Society on 12Th February 1992, Under the Societies Act

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brief History of the Artists Village the Artists Village Registered As a Society on 12Th February 1992, Under the Societies Act The Artists Village Brief history of The Artists Village The Artists Village Registered as a society on 12th February 1992, under the Societies Act. The Artists Village was founded by one of its founding members Tang Da Wu, in his kampung- studio in Ulu Sembawang in 1988 and was registered as a non-profit society in February 1992. Da Wu established the Artists Village in one of the remaining rural enclaves in Singapore. It was an oasis, physically and spiritually. The original site had to be relinquished when the land was rezoned for development. For three years The Artists Village was a centre for learning and practicing art. Some of the artists have continued their association with The Artists Village, others have advanced their careers and practices independently. Despite the loss of permanent premises, The Artists Village continues its existence as a registered non-profit art society or body and convenes through exhibitions and arts related events. The Artists Village Mission is to foster and develop an increased consciousness of the importance of the arts and their contribution to Singapore society. This is to be achieved by engaging in active dialogue with the public through the production and exposition of works of art. The Artists Village (TAV) presents activities that are critical to the art situation in Singapore. As an art group that consists of a committee made up of initiative artists The goals of TAV are to promote contemporary art and to bring about a better understanding of contemporary art practices and their contribution to society. Since the beginning, we have played a crucial role in the Singapore art scene and have organized many important art events that serve as platforms for contemporary art projects by local and overseas artists. The projects initiated by TAV have been well-received by the Singapore public as well as by fellow art and cultural practitioners. Our projects which have traveled to international art venues and art festivals and have received equally encouraging response. TAV currently functions without a studio or an exhibition space. We have only an office and hold our events mainly in public places. These include residential and commercial spaces, public parks and heritage sites. Occasionally, we also work in art spaces and galleries, local art academies and institutions. With our events, we seek to investigate and address the historical, social and political issues regarding the particular space, while at the same time, reach out to a wider audience. In the coming years, we will continue to create interesting and meaningful work in these different spaces as well as develop a stronger regional and international network. \ Chronology of Events 1988 June Tang Da Wu founded the village studio-space at 61-B, Lorong Gambas, Sembawang. He invited some young artists to work at the studios. 1989 Jan The Artists working at the village studios organized the first 'Open Studio Show' at the village. Beginning the use of the name "The Artists Village". April The Artists Village was invited to show in the Singapore Tourist Promotion Board's event 'Art Mart - Singapore International Shopping Festival' at Cuppage Terrace, Orchard Road. 1 The Artists Village May/Jun The Artists Village organized the 'The Artists 2nd Open Studio Show' at the village. July/Aug The Artists Village was invited to show at the 'Opening of the Nanyang Technological Institute's Research Hall 5' presented by 'Hall 5'. The Artists Village named the event 'The Happenings'. Sept The Artists Village was invited to show at the National University of Singapore. Presented by the Raffles Hall and The Architectural Society of National University of Singapore. The Artists Village named the event 'The Happenings II'. Dec The Artists Village organized 'The Drawing Show' at the village. 1989, 31 Dec The Artists Village organized the 'The Time Show' a 24 hours Continuous to 1990,1 Jan Performance Art Show, at the village. 1990 March The Artists Village was invited by Hong Kong QU Art Society to show in 'QU Art Support II - The Artists Village Show', Hong Kong. March Closure of the village space at Lorong Gambas. The artists at the village space moved out, as the land was returned to the Government for re-development. The previous owners accepted compensation s for its acquisitions in 1987. Tang Da Wu and a few artists moved to rented houses at the Naval Base area, but could not continue to have public activities at these premises. June The Artists Village was invited to show in the Festival Fringe of the Singapore Festival of Arts 1990. It presented 'The Care Show'. (Concerned Artists for the Environment) Dec The Artists Village was invited to show in 'Gateways to Malaysia', presented by the Bangunan Dato Jaafar (a cultural space) in Johore, Malaysia. 1991 June Tang Da Wu initiated 'A Sculpture Seminar' at the National Museum co- organized by The Artists Village and presented by the National Museum, Singapore. 1992 June The Artists Village and the National Arts Council jointly organized 'The Space' - a fringe festival visual arts event for the Singapore Arts Festival 1992, at Hong Bee Warehouse. Aug The Artists Village was invited to participate in 'ARTS IN U', the 1st Arts Festival organized by The Visual Arts Society of The Nanyang Technological University. The Artists Village was invited by The Gallery 21 to present a performance event called 'Performance Week'. 1993 July The Artists Village participated in the '2nd Sculpture Seminar' presented by the Singapore Arts Museum. Dec The Artists Village participated in 'Artists' General Assembly', (AGA), at the 5th Passage Contemporary Art Space, organized by 5th Passage Artists LTD and The Artists Village. 1994 2 The Artists Village Feb/Mar Members of The Artists Village were invited by Anima Gallery, Adelaide, to show in the 'Adelaide Festivals'. However, the exhibition was canceled due to funding problems of the organizer. June The Artists Village proposal 'Art Bus' for the fringe Festival of the Arts 1994, was not successful. 1996 June The 'Art Bus' was accepted and organized by the National Arts Council as part of the Singapore Festival of Arts 1996. The Artists Village named the event 'Tour de Art lah!' 1999 27 Dec The Artists Village organized a year - end show, 'Post-Ulu', at the Substation. to 16 Jan A multi-media happening. A 12-hour event 'Post-Ulu Gig' was organized from the 31st 1999 to 1st Jan 2000 to commemorate the new millennium. Supported by National Arts Council and Lee Foundation. 2000 9 Jan The Artists Village participated in the Art Societies' Weekend Series Art Program for Nokia Singapore Art 1999, Singapore Art Museum. Supported by National Arts Council Jul to Aug The Artists Village organized the AIM (Artists Investigating Monuments) shown at various sites in Singapore; Raffles Landing Site, Merlion Park and Hong Lim Park, during the period July to August. Sponsored by National Arts Council and Lee Foundation. Oct An Artists Village event, Mental Sculpture is a solo exhibition by young member, Dennis Tan, at the Substation. Sponsored by National Arts Council and Lee Foundation. Nov The Artists Village presented AIM (Artists Investigating Monuments) Documentation Exhibition at The Substation. Sponsored by National Arts Council and Lee Foundation. 2001 23 Mar The Artists Village presented a group show, Bye Bye Albert (The Coffee Shop Event) at Hock Hiap Leong, a coffee shop along Armenian Street. Sponsored by Lee Foundation October The Artists Village presented Blink of An Eye: Austrian Experimental Film and Video Art at The Substation. Sponsored by Lee Foundation. The Artists Village began The Bali Project, a project that revisits Singapore art history. Sponsored by National Arts Council and Lee Foundation. November The Artists Village presented Talk By Richard Martel, at The Substation. 27-31 Dec The Artists Village presented Pulau Ubin Art Camp, a 5-day residency on Pulau Ubin. Sponsored by National Arts Council and Lee Foundation. 2002 20 Apr The Artists Village participated in Ubin Day, an event organised by Singapore Environment Council. 3 The Artists Village May- Jun The Artists Village presented video collection SEE SINGAPORE!, in Copenhagen, Denmark and Kassel, Germany. Sponsored by National Arts Council and Lee Foundation. 11-28 Jul The Artists Village presented S.O.S., a two-man show by members, Jeremy Hiah and Kai, at Utterly Art. Sponsored by National Arts Council and Lee Foundation. 9 Aug The Artists Village presented A Moving Experience, an event to celebrate Singapore's National Day, on bus number 65. Sep The Artists Village participated in soft: Danger Museum, an exhibition held in the Institute of International Visual Arts (inIVA) in London, England. The Artists Village presented Six Contemporary Artists from Singapore at Hanoi Contemporary Arts Center, Hanoi, Vietnam. Co-presented by Vietnam Fine Art Association. Sponsored by National Arts Council, Lee Foundation and Lasalle-SIA College of the Arts Alumni. Nov ‘Singa Dance’; The Artists Village participated in the 4th Asiatopia, an international performance art festival organized by Concrete House & Empower Foundation in Bangkok, Thailand. Sponsored by Lee Foundation Dec The Artists Village presented B.E.A.U.T.Y; BadEvilAwfulUglyTerribleYucky, a group exhibition, at Utterly Art. Sponsored by National Arts Council, Lee Foundation and Arts Fund. 2003 Jan The Artists Village presented FS’03 Indonesia (Fusion Strength), a performance & installation event and exhibition involving 11 Singapore artists and 11 Indonesian artists at Benda Art Space in Yogjakarta, Langgeng Gallery in Magelang and Puri Art Gallery in Malang, Indonesia. Curated by Juliana Yasin & Titarubi. Sponsored by Singapore Internationale Foundation. March Fiesta, a performance art event presented at NUS Museums (University Cultural Centre) organized in conjunction with the NUS Open House Festival, 2003. A series of individual performance pieces presented by local arts practitioners.
Load more

Recommended publications
  • Performance Art
    (hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property.
    [Show full text]
  • Associate Artistic Director, Theatreworks, Singapore Associate Artist, the Substation, Singapore
    Associate Artistic Director, Theatreworks, Singapore Associate Artist, The Substation, Singapore vertical submarine is an art collective from Singapore that consists of Joshua Yang, Justin Loke and Fiona Koh (in order of seniority). According to them, they write, draw and paint a bit but eat, drink and sleep a lot. Their works include installations, drawings and paintings which involve text, storytelling and an acquired sense of humour. In 2010, they laid siege to the Singapore Art Museum and displayed medieval instruments of torture including a fully functional guillotine. They have completed projects in Spain, Taiwan, Hong Kong, Korea, The Philippines, Mexico City, Australia and Germany. Collectively they have won several awards including the Credit Suisse Artist Residency Award 2009, The President’s Young Talents Award 2009 and the Singapore Art Show Judges’ Choice 2005. They have recently completed a residency at Gertrude Contemporary in Melbourne. MERITS 2009 President’s Young Talents 2009 Credit Suisse Art Residency Award 2005 Singapore Art Show 2005: New works, Judge’s Choice 2004 1st Prize - Windows @ Wisma competition, Wisma Atria creative windows display PROJECTS 2011 Incendiary Texts, Richard Koh Fine Art, Kuala Lumpur, Malaysia Dust: A Recollection, Theatreworks, Singapore Asia: Looking South, Arndt Contemporary Art, Berlin, Germany Postcards from Earth, Objectifs – Center for Photography and Filmmaking, Singapore Open Studios, Gertrude Contemporary, Melbourne, Australia Art Stage 2011, Marina Bay Sands, Singapore 2010 How
    [Show full text]
  • Singapore Biennale 2019: Every Step in The
    Media Release Singapore Biennale 2019: Every Step In The Right Direction Opens Across Multiple Sites in Singapore on 22 November 2019 77 artists and collectives reflect on contemporary life and the human endeavour for change 20 Nov 2019 - Singapore Biennale 2019 (SB2019) returns for its sixth edition, with 77 artists and art collectives from 36 countries and territories. Titled Every Step in the Right Direction, the international contemporary art exhibition invites the public to engage with the act of artistic exploration, drawing on the importance of making choices and taking steps to consider the conditions of contemporary life and the human endeavour for change. Commissioned by the National Arts Council and organised by SAM, the Singapore Biennale will run from 22 November 2019 until 22 March 2020 across 11 venues in the city. With a strong focus on Southeast Asia, the sixth edition welcomes over 150 works across a breadth of diverse mediums including film, installation, sound art and performance, as well as new commissions and works that have never been presented in contemporary art biennales and exhibitions internationally. SB2019’s opening weekend will feature programmes for the public, including artist performances, curator and artist tours and talks. Organised by Singapore Art Museum | Commissioned by National Arts Council, Singapore Supported by the Ministry of Culture, Community and Youth 61 Stamford Road, #02-02, Stamford Court, Singapore 178892 . www.singaporeartmuseum.sg 1 Singapore Biennale 2019: Every Step in the Right Direction refers to the ethical imperative for both artists and audiences to make choices and take steps to reflect on the conditions of contemporary life.
    [Show full text]
  • JEREMY SHARMA Born 1977, Singapore
    JEREMY SHARMA Born 1977, Singapore EDUCATION 2006 Master of Art (Fine Art), LASALLE College of the Arts, Singapore 2003 Bachelor of Art (Fine Art) with High Distinction, LASALLE College of the Arts (RMIT), Singapore RESIDENCIES 2016 Stelva Artist in Residence, Italy 2015 NTU Centre for Contemporary Arts, Singapore 2014 Temenggong Artist in Residence with Fundación Sebastián, Mexico City 2008 Artist Residency & Exchange Program (REAP) by Artesan Gallery Singapore, Manila, The Philippines 2007 Royal Over-Seas League (ROSL), Travel Scholarship, Hospitalfield, Arbroath, Scotland, United Kingdom 2004 Studio 106, Former Residential-Studio of the late Cultural Medallion Dr. Ng Eng Teng, Joo Chiat Place, Managed by LASALLE-SIA College of the Arts, Singapore AWARDS AND PRIZES 2013 RPF Grant, LASALLE College of the Arts, Singapore 2013 Creation Grant, National Arts Council, Singapore 2007 Royal Over-Seas League (ROSL) Travel Scholarship 2005 LASALLE-SIA Scholarship 2005 JCCI Arts Award, Japanese Chamber of Commerce and Industry, Recipient (with KYTV) 2003 Phillip Morris Singapore Arts Award, Honorable Mention 2003 Studio 106, Residency Award 2002 The Lee Foundation Study Grant, Singapore 2000 Action for Aids Award, First Prize (Open Category), Singapore 1999 The Della Butcher Award, Presented by The Rotary Club of Singapore, winner COLLECTIONS Singapore Art Museum Ngee Ann Kongsi, Singapore SOCIÈTÉ GÉNÈRALE The Westin, Singapore One Farrer Private Limited NUS Business School, Singapore Prime Partners COMMISSIONS Slow Fury, Asian Film Archives,
    [Show full text]
  • Annex A: Bios of Creative Directors - Clara Yee and Randy Chan
    Annex A: Bios of Creative Directors - Clara Yee and Randy Chan Clara Yee Creative Director Singapore: Inside Out Tokyo Clara Yee is the creative director of nomadic creative house, in the wild. After graduating from Central Saint Martins College of Art and Design London, Yee has been actively developing her creative practice, creating and collaborating across disciplines from fashion to spatial interventions. To date, Yee has worked with many prolific private and public clients, including Alexander McQueen, Barbican London and Warner Music. Her work has brought her on cross-country cultural adventures to Beijing, London, Mexico City, New York, Taiwan and Japan, where she collaborated with international talents. She has exhibited her works as part of London Design Festival, Taiwan Design Expo, Singapore Design Week and Archifest, showing at galleries in London, Singapore and USA such as Blackall Studios, Sculpture Square, Berkeley Foundation and Singapore Art Museum’s 8Q @ SAM. Yee is part of The Straits Times’ 30 rising stars of Singapore under 30 and is also a Forbes Asia’s inaugural 30 under 30 honouree. Randy Chan Creative Director Singapore: Inside Out Sydney One of Singapore's leading young architects, Randy's architectural and design experience includes work on projects as diverse as stage design, private housing, cluster housing and master-planning – all of which are guided by the simple philosophy that architecture and the aesthetics originate from the same impulse. Randy takes a multidisciplinary architectural approach to his projects and specializes in the convergence between Art and Architecture. His works have been published in numerous local architecture magazines and international publications, including Robert Powell’s Singapore Houses.
    [Show full text]
  • Art of Tang Da Wu
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Body and communication : the ‘ordinary’ art of Tang Da Wu Wee, C. J. Wan‑Ling 2018 Wee, C. J. W.‑L. (2018). Body and communication : the ‘ordinary’ artof Tang Da Wu. Theatre Research International, 42(3), 286‑306. doi:10.1017/S0307883317000591 https://hdl.handle.net/10356/144518 https://doi.org/10.1017/S0307883317000591 © 2018 International Federation for Theatre Research. All rights reserved. This paper was published by Cambridge University Press in Theatre Research International and is made available with permission of International Federation for Theatre Research. Downloaded on 27 Sep 2021 10:02:22 SGT Accepted and finalized version of: Wee, C. J. W.-L. (2018). ‘Body and communication: The “Ordinary” Art of Tang Da Wu’. Theatre Research International, 42(3), 286-306. C. J. W.-L. Wee [email protected] Body and Communication: The ‘Ordinary’ Art of Tang Da Wu Abstract What might the contemporary performing body look like when it seeks to communicate and to cultivate the need to live well within the natural environment, whether the context of that living well is framed and set upon either by longstanding cultural traditions or by diverse modernizing forces over some time? The Singapore performance and visual artist Tang Da Wu has engaged with a present and a region fractured by the predations of unacceptable cultural norms – the consequences of colonial modernity or the modern nation-state taking on imperial pretensions – and the subsumption of Singapore society under capitalist modernization. Tang’s performing body both refuses the diminution of time to the present, as is the wont of the forces he engages with, and undertakes interventions by sometimes elusive and ironic means – unlike some overdetermined contemporary performance art – that reject the image of the modernist ‘artist as hero’.
    [Show full text]
  • After Utopia Premises the Idea of Utopia on Four Prospects
    1 May – 18 Oct 2015 Organised by Supported by In celebration of © 2015 Singapore Art Museum © 2015 Individual contributors All artworks are © the artists unless otherwise stated. Information correct at the time of the publication. Exhibition Curators: Tan Siuli Louis Ho Artwork captions by: Joyce Toh (JT) 1 May – 18 Oct 2015 Tan Siuli (TSL) Louis Ho (LH) All rights reserved. Apart from any fair dealing for purposes of private study, research, criticism, or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent from the Publisher. Printer: AlsOdoMinie, Singapore Cover Image: H. Eichhorn, Tropic Woods (detail), issued by Meyers, lithographed by Bibliographisches Institut Leipzig, 1900, as featured in Donna Ong, The Forest Speaks Back (I), 2014. Photograph by John Yuen. Image courtesy of the Artist. Inside Cover Image: Maryanto, Pandora’s Box (detail), 2013, 2015. Image courtesy of the Artist. n naming his fictional island ‘Utopia’, writer Thomas More conjoined the Greek words for ‘good place’ and ‘no place’ – a reminder that the idealised society he conjured was fundamentally phantasmal. And yet, the search and yearning for utopia is a ceaseless humanist endeavour. Predicated on possibility and hope, utopian principles and models of worlds better than our own have been perpetually re-imagined, and through the centuries, continue to haunt our consciousness. Where have we located our utopias? How have we tried to bring into being the utopias we have aspired to? How do these manifestations serve as mirrors to both our innermost yearnings as well as to our contemporary realities – that gnawing sense that this world is not enough? Drawing largely from SAM’s permanent collection, as well as artists’ collections and new commissions, After Utopia premises the idea of Utopia on four prospects.
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • ANNEX a Complete List of Featured Artists and a I Light Marina Bay 2012 9 March – 1 April Marina Bay Featured Artists And
    i Light Marina Bay 2012 9 March – 1 April Marina Bay ANNEX A Complete List of Featured Artists and Art Installations No Artist Gender Born Country of Birth Base 1 Aleksandra Stratimirovic * F 1968 Yugoslavia Sweden Andrew Daly F 1986 Australia Australia 2 Katherine Fife M 1990 Australia Australia 3 Angela Chong* F 1977 Singapore Singapore 4 Be Takerng Pattanopas* M 1965 Thailand Bangkok 5 BIBI M 1964 France France 6 Cornelia Erdmann* F 1976 Germany Hong Kong 7 Craig Walsh M 1966 Australia Australia 8 Dev Harlan M 1978 USA USA 9 Edwin Tan* M 1981 Singapore Singapore Groupe LAPS 10 Thomas Veyssiere (Director) M 1971 France France Hexogon Solution* 11 M 1976 Singapore Singapore Adrian Goh (Team Leader) 12 Li Hui M 1977 China China Light Collective* 13 Martin Lupton M 1969 UK UK Sharon Stammers F 1971 UK UK France, 14 Marine Ky* F 1966 Cambodia Cambodia, Australia Martin Bevz M 1986 Australia Australia 15 Kathryn Clifton F 1985 Australia Australia OCUBO* 16 Nuno Maya M 1978 Portugal Portugal Carolle Pumelle F 1964 Democratic Republic of Portugal Congo 17 Olivia d’Aboville* F 1986 Philippines Philippines 18 Olivia Lee* F 1985 Singapore Singapore 19 Ryf Zaini* M 1980 Singapore Singapore 20 Shinya Okuda M - Japan Singapore 21 StoryBox M 1975 New Zealand New Zealand Singapore Student 22 Showcase 1: - - - Singapore LASALLE College of the Arts 23 Singapore Student - - - Singapore Organised by Festival Direction by Held in i Light Marina Bay 2012 9 March – 1 April Marina Bay Showcase 2: School of the Arts Singapore 24 Takahiro Matsuo M 1979 Japan
    [Show full text]
  • Ica Singapore Exhibition-Catalogue Sound-Latitudes-And-Attitudes.Pdf
    foreword [03] Bala Starr essays [06] Listening to the World — Charles Merewether [09] Just Outside Our Hearing — Joleen Loh [17] If You Gave Sound a Chance, Everything Else Would Not Matter — Ian Woo [22] Zero: A Meditation on Listening — Chong Li-Chuan [27] In Conversation with Joyce Koh — Bani Haykal artists [35] In Conversation with Zul Mahmod — Bani Haykal [46] Song-Ming Ang [48] George Chua [50] Gulayu Arkestra [52] Joyce Koh [54] Kai Lam [56] Mohamad Riduan [58] Darren Ng [60] The Observatory [62] Joel Ong [64] Ong Kian-Peng [66] Brian O’Reilly [68] Shaun Sankaran [70] Dennis Tan [72] Evan Tan [74] Zai Tang [76] Mark Wong The EXHIBITION [80] Zul Mahmod [82] The Archive, Performances, Installations, Sound Scores, Listening Stations [98] Biographies [102] acknowledgements FOREWORD The seventeen artists and musicians whose work is represented in SOUND: Latitudes and Attitudes are also variously researchers, performers, educators, mentors, curators, theorists, writers, critics, entrepreneurs, and producers. Spanning several generations, many are internationally recognised for their influential and often challenging work in sound and music. The artists’ interests range widely, from noise, folk music, field recordings and esoteric instrumentations to archival research and documentation. Each encourages an active sense of listening, and explores the generously open- ended ‘uncertainties’ of sonic arts. Curators Bani Haykal and Joleen Loh have worked closely with the artists in the development of this exhibition. Together they have carefully negotiated questions of language and display to realise a project that is ambitious in scope and the information it shares imaginatively with its audience. Each of the artists works intensively with sonic material and we sense this intensity in the temperament and complexity of the exhibited material and in the range of practices we experience through the exhibition.
    [Show full text]
  • CHNG SEOK TIN Born 1946, Singapore
    CHNG SEOK TIN Born 1946, Singapore ARTIST STATEMENT A 1972 graduate in Western Painting from the Nanyang Academy of Fine Arts, Chng earned her Bachelor of Fine Arts (Honours) at Hull, UK in 1979, Master of Arts in 1983 from New Mexico State University, Las Cruces, USA and Master of Fine Arts from the University of Iowa, USA in 1985. Chng is also the recipient of the Lee Foundation Study Awards from 1976-1979, the Cultural Foundation Award for postgraduate studies at Hornsey College of Arts from the Ministry of Culture in 1980 and recently, Woman of the Year Award in 2001. SOLO EXHIBITIONS 2014 Gather & Disperse, Art-2 Gallery, Singapore Once Upon A Time, NUSS Guild House, Singapore 2011 Uncommon Wisdom, Nanyang Academy of Fine Arts, Singapore 2008 Before & After… , Tainan County Cultural Center, Taiwan 2007 Wonders of Golden Needles, Jendela Gallery, Esplanade-Theatres by the Bay, Singapore Passion for Art – 35 Years of Works by Visual Artist Chng Seok Tin, Museum of Fine Arts (Cultural Affairs Bureau of Hsinchu County) and the Cultural Affairs Bureau of Kinmen County, Taiwan 2006 Evolution of Kim-chiam: From Dried Lily Bud to Rolling Red Dust, Telok Kurau Studios Gallery, Singapore 2005 Reflections of Paris, Orita.Sinclair.Int’l – Front Room Gallery, Singapore Passage to… , UN Secretariat South Lounge, New York, USA Blossoming of the Pomegranate, p-10, Singapore 2004 Sound of Vermont, Art-2 Gallery, Singapore 2003 Frames, within and without, Utterly Art Gallery, Singapore 2001 Attachments and Detachments: A Chinese Obsession, Gallery Evason Hotel, Singapore Life, Like Chess, Sculpture Square, Singapore 1996 Metamorphosis, Singapore Festival of Arts 1996, Fort Canning Arts Centre, Singapore 1994 Life, Cosmos Gallery, Hong Kong 1993 Games, National Museum Art Gallery, Singapore 1992 Games, d.p.
    [Show full text]
  • World, the Interdisciplinary Arts and the Community: an Interview with the Artistic Director of the Substation – a Home for the Arts
    The ‘Real’ World, the Interdisciplinary Arts and the Community: An Interview with the Artistic Director of The Substation – A Home for the Arts Noor Effendy Ibrahim, interviewed by C. J. W.-L. Wee What would you say are the present central goals of the historically first independent Singapore art centre, The Substation – A Home for the Arts? I have been Artistic Director of The Substation since February 2010. The key goal is clear: to continue and develop the legacy of this centre1 through artistic strategies and methods that are sensitive to and aware of the current and immediate cultural, political and economic contexts that exist. The Substation aims to provide a rigorous and safe space for the development and research into art practices that have a primarily interdisciplinary orientation – in short, the aim is to be a venue where dialogues occur and artistic curation and creation can transpire. It is apparent, though, that the physical infrastructure of The Substation is ageing, and that sufficient funding is also another key concern. So, a major issue is the re-thinking of how to make the available resources within The Substation itself good enough such that challenging artwork is possible, and so that the imagination of the larger arts community – the larger public, government agencies and possible funders – can be fired up to comprehend our commitment to interdisciplinary arts creation at The Substation, whatever the limitations and constraints of the moment. A particular challenge that we are face today lies in the education, the nurturing and the sustaining of critically informed and engaged audiences who will not be fearful of the artistic experimentation and exploration that form the backbone of interdisciplinary practice.
    [Show full text]