Press Release【The 12Th the Benesse Prize Awarded to Singapore
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Performance Art
(hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property. -
Download SB2016 Exhibition Guide
ORGANISED BY COMMISSIONED BY SUPPORTED BY SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016 ARTISTS AHMAD FUAD OSMAN 59 KENTARO HIROKI 21, 49 SHARMIZA ABU HASSAN 27 MALAYSIA THAILAND/JAPAN MALAYSIA MARTHA ATIENZA 31 HTEIN LIN 46 DO HO SUH 28 PHILIPPINES/NETHERLANDS MYANMAR SOUTH KOREA/UNITED STATES/ UNITED KINGDOM AZIZAN PAIMAN 41 JIAO XINGTAO 59 MALAYSIA CHINA ADEELA SULEMAN 49 PAKISTAN RATHIN BARMAN 51 SAKARIN KRUE-ON 61 INDIA THAILAND MELATI SURYODARMO 23 INDONESIA HEMALI BHUTA 26 MARINE KY 57 SEA OF INDIA CAMBODIA/FRANCE EDDY SUSANTO 25 JAPAN INDONESIA SOUTH KOREA JAPAN BUI CONG KHANH 50 PHASAO LAO 35 VIETNAM TCHEU SIONG NOBUAKI TAKEKAWA 48 LAOS JAPAN YELLOW SEA DAVID CHAN 54 CHINA SINGAPORE H.H. LIM 21 JACK TAN 47 MALAYSIA/ITALY SINGAPORE/UNITED KINGDOM CHIA CHUYIA 41 MALAYSIA/SWEDEN LIM SOO NGEE 20 MELISSA TAN 42 PAKISTAN SINGAPORE SINGAPORE CHOU SHIH HSIUNG 29 TAIWAN MADE DJIRNA 27 TAN ZI HAO 28 EAST INDONESIA MALAYSIA CHINA SEA ADE DARMAWAN 48 TAIWAN BANGLADESH INDONESIA MADE WIANTA 25 TITARUBI 34 HONG KONG INDONESIA INDONESIA DENG GUOYUAN 34 INDIA TROPIC OF CANCER MYANMAR CHINA MAP OFFICE 23 TUN WIN AUNG & WAH NU 32 LAOS HONG KONG/FRANCE MYANMAR DEBBIE DING 55 SINGAPORE/UNITED KINGDOM MUNEM WASIF 42 RYAN VILLAMAEL 36 BANGLADESH PHILIPPINES 3 PAGE THAILAND PHILIPPINES PATRICIA PEREZ EUSTAQUIO 22 PHILIPPINE SEA PHILIPPINES PHUONG LINH NGUYEN 33 WEN PULIN 43 VIETNAM BAY VIETNAM ZANG HONGHUA OF SOUTH BENGAL FAIZAL HAMDAN 47 CHINA CAMBODIA CHINA SEA BRUNEI NI YOUYU 30 CHINA WITNESS TO PARADISE 2016: 44 ANDAMAN DEX FERNANDEZ 26 NILIMA SHEIKH, PRANEET SOI, SRI LANKA SEA PHILIPPINES PERCEPTION3 55 ABEER GUPTA & SANJAY KAK SINGAPORE INDIA MALAYSIA BRUNEI FYEROOL DARMA 33 SINGAPORE PALA POTHUPITIYE 24 XIAO LU 20 SRI LANKA CHINA SINGAPORE SUBODH GUPTA 54 INDIA QIU ZHIJIE 29 PANNAPHAN YODMANEE 31 EQUATOR CHINA THAILAND GREGORY HALILI 30 PHILIPPINES NIRANJAN RAJAH 50 HARUMI YUKUTAKE 22 MALAYSIA/CANADA JAPAN HAN SAI POR 37 SINGAPORE ARAYA RASDJARMREARNSOOK 36 ZULKIFLE MAHMOD 24 INDONESIA JAVA FLORES SEA SEA THAILAND SINGAPORE AGAN HARAHAP 32 INDONESIA S. -
Introducing the Museum Roundtable
P. 2 P. 3 Introducing the Hello! Museum Roundtable Singapore has a whole bunch of museums you might not have heard The Museum Roundtable (MR) is a network formed by of and that’s one of the things we the National Heritage Board to support Singapore’s museum-going culture. We believe in the development hope to change with this guide. of a museum community which includes audience, museum practitioners and emerging professionals. We focus on supporting the training of people who work in We’ve featured the (over 50) museums and connecting our members to encourage members of Singapore’s Museum discussion, collaboration and partnership. Roundtable and also what you Our members comprise over 50 public and private can get up to in and around them. museums and galleries spanning the subjects of history and culture, art and design, defence and technology In doing so, we hope to help you and natural science. With them, we hope to build a ILoveMuseums plan a great day out that includes community that champions the role and importance of museums in society. a museum, perhaps even one that you’ve never visited before. Go on, they might surprise you. International Museum Day #museumday “Museums are important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples.” — International Council of Museums (ICOM) On (and around) 18 May each year, the world museum community commemorates International Museum Day (IMD), established in 1977 to spread the word about the icom.museum role of museums in society. Be a part of the celebrations – look out for local IMD events, head to a museum to relax, learn and explore. -
16 27 January 2019
16 27 January 2 019 CONTENTS FRINGE CALENDAR FRINGE FOREWORD MESSAGE FROM M1 LIMITED FRINGE 2019: STILL WATERS FRINGE HIGHLIGHTS LIVE FRINGE FRESH FRINGE FRINGE ACTIVITIES TICKETING INFO & SCHOOL BOOKINGS ABOUT THE FRINGE & FRINGE TEAM ABOUT THE NECESSARY STAGE ABOUT THE DESIGN CONCEPT KUDOS FRINGE MAPS FRINGE 2020: MY COUNTRY AND MY PEOPLE M1 SINGAPORE FRINGE FESTIVAL 2019: FRINGE STILL WATERS HIGHLIGHTS WORKS This is Where JOGGING: ANGKAT: A Definitive, Alternative, Sean Cham (Singapore) Theatre in Progress Reclaimed Narrative of a Native Hanane Hajj Ali Nabilah Said & Noor Effendy Ibrahim (Lebanon | France) (Singapore) VENUE Selected JCDecaux Esplanade NAFA bus shelters Theatre Studio Studio Theatre From 26 Dec 2018 12 SAT 13 SUN 14 MON 15 TUE 16 WED 17 THU 18 FRI 19 SAT 20 SUN 21 MON 22 TUE 23 WED 24 THU 25 FRI 26 SAT 27 SUN * Refer to Fringe Maps for more information M1 SINGAPORE FRINGE LIVE FESTIVAL 2019: FRINGE STILL WATERS WORKS A Fortunate Man Above the Mealy- Q&A (the 36 questions) New Perspectives (UK) Mouthed Sea Rachel Erdos and Dancers (Israel) Unholy Mess (UK) VENUE Esplanade Esplanade Esplanade Theatre Studio Theatre Studio Theatre Studio 12 SAT 13 SUN 14 MON 15 TUE 16 WED 17 THU 18 FRI 19 SAT 20 SUN 21 MON 22 TUE 23 WED 24 THU 25 FRI 26 SAT 27 SUN * Refer to Fringe Maps for more information M1 SINGAPORE FRINGE LIVE FESTIVAL 2019: FRINGE STILL WATERS WORKS precise purpose Kaspar Ayer Hitam: Catamite of being broken Edith Podesta & Nanyang A Black History Loo Zihan Koh Wan Ching Academy of Fine Arts of Singapore (Singapore) -
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’. -
Early Contemporary Art Activities in Singapore (1976 – 1996), Documentation from the Koh Nguang How Archive Collection
FOR IMMEDIATE RELEASE On the Cusp: Early Contemporary Art Activities in Singapore (1976 – 1996), Documentation from the Koh Nguang How Archive Collection Selection of Art Ephemera, 1986 to 1996. Photographed by Koh Nguang How. SINGAPORE, 29 JANUARY 2018 – Launching on 1 February 2018, On the Cusp: Early Contemporary Art Activities in Singapore (1976 – 1996), Documentation from the Koh Nguang How Archive Collection, is an archival presentation curated by and seen from the perspective of Singaporean artist and archivist Koh Nguang How. The exhibition pivots around Koh’s involvement, activities, collection and recollection as Curatorial Assistant at the National Museum Art Gallery (NMAG) from October 1985 to February 1992, a position that launched his interest and commitment in documenting and archiving art activities in Singapore. Koh’s extensive archival collection is widely acknowledged as the most comprehensive on Singapore early contemporary to contemporary art. Using material which Koh personally documented or collected, the presentation explores early contemporary art activities through two lenses. The first gathers events, people and activities in a chronological order that, in Koh’s view, were leaning towards the ‘contemporary’ in the 20-year period between the establishment of NMAG and SAM. The second offers a closer look at the events in, around and connected to NMAG and the former St Joseph’s Institution (SJI) building. Navigating around these two trajectories produces both expansive and specific insights - from the groundswell within the Singaporean art scene as it transitioned from the modern to the contemporary, eventually contributing towards the establishment of Singapore’s first dedicated visual arts museum; to the relationships between artists, curators, organisers, collectives and communities in and around NMAG and the SAM-SJI building. -
MEDIA RELEASE the Collectors Show Returns with New, Rarely-Seen
MEDIA RELEASE For Immediate Release The Collectors Show returns with new, rarely-seen treasures from private collections 22 January 2013, Singapore – The Singapore Art Museum (SAM) & Credit Suisse are proud to present the third edition of The Collectors Show, one of the most anticipated exhibitions on Singapore’s arts calendar. Independently curated and organised by SAM, and sponsored by Credit Suisse as part of its Innovation in Art series, the exhibition draws from important private collections to present 23 contemporary masterpieces from the Asia-Pacific region. This exceptional exhibition series draws entirely from the private collections of individuals, art foundations, private museums and other organizations, offering museum-goers a unique glimpse into spectacular artworks normally held behind closed doors. The Collectors Show reflects the impact of museum-curated exhibitions in helping visitors find new ways to look at contemporary art. The theme of each exhibition connects the disparate pieces of art together in a thoughtful way, linking the art to our larger contemporary society and culture. Titled ‘Weight of History’, this year’s Collectors Show examines how artists engage with and evaluate local traditions and culture, displaying interconnected relationships between past and present in our increasingly globalised societies. Through the eyes of contemporary artists, Weight of History aims to raise questions about what defines history and how personal accounts of the past are just as valuable as official depictions of historical events, and why the past is still relevant to contemporary art making in Asia. Artists presented in the show hail from across the Asia-Pacific region, including China, Japan, Korea, India, Pakistan, Singapore, Malaysia, Thailand, Philippines, Australia, as well as Tibet and Taiwan. -
'Sub/Merged' and 'An Unnatural Hist
MEDIA RELEASE TWO NEW OUTDOOR ARTWORKS TO BE FEATURED AROUND THE SINGAPORE ART MUSEUM ‘Sub/merged’ and ‘An Unnatural History’ will feature digital elements that extend the experience of the works beyond the hoardings Finbarr Fallon, ‘Sub/merged’, 2020; image courtesy of the Artist Singapore, 16 December 2020 – Singapore Art Museum (SAM) presents two larger-than-life artworks by artists Finbarr Fallon, and Darel Seow with Lee Xin Li for the latest presentation on the hoardings surrounding the museum buildings. SAM’s location in the city centre is central to the artists’ artworks, with each responding to the urban landscape in their own way. As site- specific installations, Finbarr Fallon’s Sub/merged imagines a subterranean city of the future, while An Unnatural History by Darel Seow with Lee Xin Li, explores the struggle between man and nature. Both newly commissioned pieces will offer viewers the opportunity to engage more intimately with the artworks online through interactive elements. The artworks are part of SAM’s on-going collaboration with Singapore-based artists to present contemporary art in public spaces while the buildings undergo redevelopment and will be on display from 18 December 2020 until 6 June 2021. SAM’s Assistant Curator Andrea Fam, who curated these commissioned works, elaborates, “As SAM undergoes redevelopment, we saw an opportunity to engage and grow relationships with arts practitioners we had not yet worked with in a concerted manner. Being trained in 1 61 Stamford Road, #02-02, Stamford Court, Singapore 178892 . www.singaporeartmuseum.sg architecture, Finbarr brings his considerations of the future of urban planning and building de- sign to the hoarding at SAM’s main building, transforming a familiar and well-trodden pavement into a surprisingly unexplored corridor. -
MEDIA RELEASE Singapore Art Museum Launches an Open Call To
MEDIA RELEASE Singapore Art Museum Launches an Open Call to Art Practitioners for its Inaugural Residencies Programme Starting in July 2021, SAM’s Residencies programme aims to support innovative practices, encourage collaborations, and widen public understanding of art Singapore, 2 December 2020 – Singapore Art Museum (SAM) announces the launch of its inaugural Residencies programme. The museum-run Residencies programme will fea- ture four residencies, which will be open to artists, curators, art organisations and artist- run spaces, as well as community and education-focused art practitioners. Developed in line with SAM’s vision of engaging local and international artistic communities across a wide range of disciplines, the residencies will also actively involve local communities and the public through a diverse lineup of activities. SAM will be accepting applications for three residencies from 9 December 2020 to 28 February 2021. The fourth residency is by invitation only and will host two Asia-based independent art organisations and collectives. The SAM Residencies programme is designed to engage both the art community and the public at large. For the art community, it serves as an incubator for new approaches to artistic and curatorial practices through supporting dialogue within and beyond the field of contemporary art. It offers a platform for artistic experimentation and encourages the ex- change of ideas and opportunities for future collaboration, as well as network building. The Residents will also be encouraged to interact with or involve local communities and the public in different ways, through presentations and programmes such as open studio vis- its, talks, workshops and other activities. -
Of 19 FACTSHEET NIGHT FESTIVAL 2012 Back for Its Fifth Instalment
FACTSHEET NIGHT FESTIVAL 2012 Back for its fifth instalment since 2008, Night Festival 2012 returns with a bang promising a nocturnal extravaganza of spectacular aerial performances, music, and dance and artworks. Held over two weekends on 24th & 25th August and 31st August & 1st September, Night Festival 2012 showcases the buzz and vibrancy in the Bras Basah.Bugis Arts and Heritage Precinct. The entire area will be transformed into a carnival ground with main events taking place on the public green spaces of SMU, National Museum of Singapore, Singapore Art Museum, The Peranakan Museum, The Substation, and more. Night Festival 2012 is bigger than ever as the entire Bras Basah.Bugis community comes together to make the festival a success. Stretching from Cathay building to Armenian Street, this year sees a record number of partners in the area actively involved in the Festival itself, such as The Cathay, Timbre, Switch, Vanguard Building, CHIJMES, LOOF, Select Books and SOTA. Providing a platform for the best of our local talents to perform and collaborate with foreign acts, Night Festival promises a lively exchange of skills, culture and talent for the performers as well as the audience. With the rich line-up of programmes, Singaporeans will be able to come together to celebrate and create new shared memories through meaningful and engaging experiences at the festival this year. As part of Night Festival, the National Museum of Singapore, Singapore Art Museum, and The Peranakan Museum will also be open till 2.00am. Page 1 of 19 NIGHT FESTIVAL 2012 INFORMATION Date: Fri 24 Aug & Sat 25 Aug 2012 Fri 31 Aug & Sat 1 Sep 2012 Time: 7.00pm – 2.00am Venue: Bras Basah.Bugis Precinct Admission: Free Admission Road Closure at Armenian Street For the first time, Armenian Street will be closed on the second festival weekend, 31 August and 1 September from 8.00pm to 2.00am due to strong support from partners who have planned programmes for the public along the street. -
Conceptual Strategies in Southeast Asian Art a Local Narrative
conceptual strategies in Southeast Asian Art a local narrative introduction Beuys, but also asserting the autonomy of regional conceptual prac- In his review of the Southeast Asian art exhibition of 2010 Making History tices.5 That exhibition’s approach, in its differentiated understanding Tony Godfrey, the author of Conceptual Art, assesses works by Alwin of globalism, recognition of local conditions and histories, broad view Reamillo (b.1964), Mella Jaarsma (b.1960), Vasan Sitthiket (b.1957), of dematerialization, and acceptance of non-homogenous institutional Tang Da Wu (b.1943), Nge Lay (b.1979), Green Zeng (b.1972), and critique, offers a welcome perspective on conceptual modes of non- Bui Cong Khanh (b.1972) as difficult to read, “... its (the exhibition’s) Euramerica.6 The mission here then, before establishing parallels or weakness is the indirect allusions that they (the artists) use to make even beginning to speak of displacing or adding on to as does Okwui their point...”. Yet it is emphatically the case that the practices of these Enwezor, is to start with the art itself and from there capture the nature acknowledged regional talents are marked by conceptual strategies, and possible antecedents of conceptual tactics employed by Southeast their visual languages chosen accordingly.1-3 Godfrey frames his review Asian practitioners, thus affording what John Clark calls a self-disen- with a survey of history painting, an academic genre instrumentalised by tanglement involving Asian contextualization.7-8 nineteenth century Europe’s -
Classic Contemporary Contemporary Southeast Asian Art from the Singapore Art Museum Collection
CLASSIC CONTEMPORARY CONTEMPORARY SOUTHEAST ASIAN ART FROM THE SINGAPORE ART MUSEUM COLLECTION 29 JANUARY TO 2 MAY 2010 ADVISORY: THIS PUBLICATION CONTAINS IMAGES OF A GRAPHIC NATURE ABOUT THE EXHIBITION Classic Contemporary shines the spotlight on Singapore Art Museum’s most iconic contemporary artworks in its collection. By playfully asking what makes a work of art “classic” or “contemporary” — or “classic contemporary” — this accessible and quirky exhibition aims to introduce new audiences to the ideas and art forms of contemporary art. A stellar cast of painting, sculpture, video, photography and performance art from across Southeast Asia are brought together and given the red-carpet treatment, and the whole of the SAM 8Q building is transformed into a dramatic stage for these stars and icons. Yet beneath the glamour, many of the artworks also probe and prod serious issues — often asking critical and challenging questions about society, nation and the history of art itself. Since its inception in 1996, SAM has focused on collecting the works of artists practicing in the region, and many of these once-emerging artists have since established notable achievements on regional and international platforms. This exhibition marks the start of SAM’s new contemporary art programming centred on enabling artistic development through the creation of exhibition and programming platforms, as well as growing audiences for contemporary art. Classic Contemporary offers an opportunity to revisit major works by Suzann Victor, Matthew Ngui, Simryn Gill, Redza Piyadasa, Jim Supangkat, Nindityo Adipurnomo, Agnes Arellano, Agus Suwage, and Montien Boonma, among others. A full programme of curatorial lectures, artist presentations, moving image screenings and performances complete the classic contemporary experience.