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Following art wherever it goes.
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 by Ho Rui-An On Lost In the City, National Museum of Singapore: The works that leave the deepest impressions are those that articulately interrogate and contest its immediate surroundings, effectively constructing a new understanding of the tensions between a nation undecided about its existence and the museum that assumes its existence and documents its socio-historical [...]  by Ho Rui An The President’s Young Talents, Singapore’s answer to the Turner Prize, is the talk of the town. Our correspondent takes us on an exhibition walkthrough, and along the way, muses about the cultural climate of the island [...]  By Patricia Lajumin Eyes Wide Open, a recent photography exhibition held at the Annexe Gallery, was an eye opener indeed. The exhibition features a small selection of works previously shown at the inaugural Singapore International Photography Festival [...]  By June Yap After watching visual artist Brian Gothong Tan’s first foray into feature film-making, Invisible Children (2008), it took a while for me to pin down exactly what I felt about the work – a ordinary sensation, but remarkable [...]  By June Yap Two different exhibitions opened on the same evening and venue early August 2009: The Air Conditioned Recession: A Singapore Survey organised by Valentine Willie Fine Art, and Curating Lab: 100 Objects (Remixed) organised by the National University of Singapore (NUS) [...]  by Syed Muhd. Hafiz The juxtaposition of Ahmad Zakii’s latest series of works, Being and Pramuhendra’s Spacing Identities within the NUS Museum programme continues to facilitate critical insights into Southeast Asian contemporary art. [...]  By June Yap Singapore again. Seeing how censorship has become a recurring topic as well in this site, I thought I’d add a bit more to the pile: with some more examples and perspectives on contemporary [...]  By Eva McGovern The 53rd Venice Biennale, ‘Making Worlds’, directed by Daniel Birnbaum and the Asian Pavilions. [...]  By June Yap Advisory: This article may contain information and graphic descriptions that might be deemed disturbing for those with particular sensitivities, feel immature or find humour disquieting. You should consider yourself warned, and may stop reading now, clicking your way to another webpage with more pleasant and agreeable content. It’s not too late, go now, run [...]  by Haseena Abdul Majid Inspired by the legendary voyages of Admiral Cheng Ho, Singaporean artist Jason Wee first formed the skeletal of RUINS: Captain Log Entries on Days with No End during his residency at the Artspace Visual Arts Center in Sydney. [...]  By June Yap A process-based performance collaboration between writer and performer Verena Tay and interdisciplinary artist Noor Effendy Ibrahim that explores the conflicted sense of belonging and identity of a contemporary Chinese Singaporean woman coming to terms with the fast-changing landscape that she grew up in – the text written on the performance for its publicity [...]  by Simon Soon The Voyage To The Ends Of The World is an internalisation of the mythical heroic journey (think Joseph Campbell’s idea of the monomyth), using the photographic medium to convey the emotional weight associated with an abstract passage towards self discovery. [...]  By June Yap May Day 2009 saw an unexpected sort of situation, one that in a way has been spurred by the government who on April 6 announced in the state paper that submissions of nominations to the government for Nominated Member of Parliament (NMP) may be made by the people. [...]  by ARTERI Two Southeast Asian new media artists + filmmakers’ debut feature films will be screened at this year’s Cannes’s Directors’ Fortnight. Sabah-born Chris Chong’s elegiac KARAOKE will be the first Malaysian feature film in 14 years to be screened on the Directors’ Fortnight platform, while Singapore makes its fifth year of consecutive presence in the Cannes Film Festival with Ho Tzu-Nyen’s poignantly surreal feature, [...]  By June Yap Zai Kuning’s practice is multidisciplinary, producing works ranging from drawing, painting, sculpture, installation, to film, music, dance, poetry and writing. His works are remarkable in their weighty simplicity. In A Tree in a Room (2004) at Sculpture Square, audiences were confronted with a large tree trunk that overwhelmed the Chapel Gallery space with its presence. Lying on its side upon the floor, the cut made across its middle at the sawmill from which it was obtained stitched together by wire – the visceral stitches at once poignant and hopeful. His works may be read as open dialogues with his audiences, whether inscribed in music, dance performances, films, drawings or discussions. A work that began in 1999 involves his documentation of his experiences of the Riau Archipelago, its history and people, in particular the Mak Yong, a local performance of folk theatre argued to have been developed by the Orang Laut. His film on the Mak Yong was screened at the Asian Film Symposium in Singapore in 2004 and was presented at the 3rd Fukuoka Asian Art [...] |
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