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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. -
Exhibition Guide
ArTScience MuSeuM™ PreSenTS ceLeBrATinG SinGAPOre’S cOnTeMPOrArY ArT Exhibition GuidE Detail, And We Were Like Those Who Dreamed, Donna Ong Open 10am to 7pm daily | www.MarinaBaySands.com/ArtScienceMuseum Facebook.com/ArtScienceMuseum | Twitter.com/ArtSciMuseum WELCOME TO PRUDENTIAL SINGAPORE EYE Angela Chong Angela chong is an installation artist who Prudential Singapore Eye presents a with great conceptual confidence. uses light, sound, narrative and interactive comprehensive survey of Singapore’s Works range across media including media to blur the line between fiction and contemporary art scene through the painting, installation and photography. reality. She has shown work in Amsterdam Light Festival in the netherlands; Vivid works of some of the country’s most The line-up includes a number of Festival in Sydney; 100 Points of Light Festival innovative artists. The exhibiting artists who are gaining an international in Melbourne; cP international Biennale in artists were chosen from over 110 following, to artists who are just Jakarta, indonesia, and iLight Marina Bay in submissions and represent a selection beginning to be known. Like all the other Singapore. of the best contemporary art in Prudential Eye exhibitions, Prudential 3D Tic-Tac-Toe is an interactive light sculpture Singapore. Prudential Singapore Eye is Singapore Eye aims to bring to light which allows multiple players of all ages to the first major exhibition in a year of a new and exciting contemporary art play Tic-Tac-Toe with one another. cultural celebrations of the nation’s 50th scene and foster greater appreciation of anniversary. Singapore’s visual art scene both locally and internationally. 3D Tic-Tac-Toe, 2014 The works of the exhibiting artists demonstrate versatility, with many of the artists working experimentally Jeremy Sharma Jeremy Sharma works primarily as a conceptual painter. -
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 -
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. -
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, -
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. -
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’. -
Switzerland's Performance Network
27 3 The Body as a Medium: Switzerland’s Performance Network It is meanwhile perfectly natural to team up the word “per- formance” with sports, banks, cars, high-energy soft drinks and the stock market.The inflationary use of the term is un- questionably a function of a society that is out for ever great- er productivity and growth in every sector. The entertainment and events sector uses performativity as a communicative factor: DJ, disco and pop culture all in- corporate performative elements, and even classical live-art (dance, music, theatre) brings us “performances”.These few examples are enough to demonstrate that, when it comes to the term “performance”, confusion reigns. How problematic the definition of “performance art” is, and how very differ- ently it can be applied, continues to be substantiated by the difficulties encountered by applicants for and recipients of funds from grant-making bodies, which usually have no specific division devoted to performance art.What is it that you do? Do you dance? Make theatre? Recite texts? Make music? What exactly is performance art in the context of the visual arts. The essential starting point of performance art is the body – as a home to the soul, a means of conveying and ex- pressing identity,and a personal or social construct.This dir- ect confrontation with the essential nature of the human being has evolved over the last forty years in accordance with the social trends and influences of the day.It has always been inherent to performance art to break taboos and challenge established norms. Performance art as social sculpture The present-day understanding of performance art goes back to the early work of the Futurists, Dadaists and Situ- ationists.The appearances of the internationally ramified, in- terdisciplinary Fluxus group in the Fifties had an enduring effect on the political actions and happenings that took place in the United States and Europe in the Sixties and Seventies. -
Lee Wen Strange Fruit 2003 C-Print Photographs, Set of 12, Edition 1/3 + 2 A.P
Learning Gallery Lesson Resources Lee Wen Strange Fruit 2003 C-Print photographs, set of 12, edition 1/3 + 2 A.P. 42 x 59.4 cm (each) Singapore Art Museum collection Exhibition Guide: page 12 – 13 © Singapore Art Museum, All rights reserved. No part of this resource may be reproduced without prior permission from the Singapore Art Museum Learning Gallery Lesson Resources Pre-SAM TASK: Think about how objects can be signifiers of cultural identity and place. SUBJECT(S): Literature, Cultural Heritage READ Have students analyse the poem, Postcards from Chinatown by Terrence Heng. From the poem, come up with a list of objects that are signifiers of the Chinese identity. Guiding questions for poem analysis: What kind of mood/atmosphere is conveyed through the poet’s description of Chinatown? What do you think the poet feels about the changes Chinatown is undergoing? CONNECT If possible, have the students explore Chinatown. Let them compare their own experience with that of the poet’s. Examples they can think about include: Objects Scenes of daily life Smells Sounds Alternatively, compare Singapore’s Chinatown and the Chinatowns in other countries such as America, United Kingdom, Australia, etc. © Singapore Art Museum, All rights reserved. No part of this resource may be reproduced without prior permission from the Singapore Art Museum Learning Gallery Lesson Resources In-SAM TASK: Transmediate understanding of artwork through creative writing and performance. SUBJECT(S): Art, Literature, Drama, Cultural Heritage DISCUSS Have students observe Lee Wen’s Strange Fruit silently for 1 minute. Next, get them to sit in front of the artwork and discuss the following questions: What is the cultural and symbolic use of lanterns during mid-autumn festival? Lee Wen has obscured his upper body with a cluster of red lanterns. -
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 -
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. -
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.