As an exhibiting artist and part of the organizing team for the group exhibition called DR/OP BEYOND BOUNDARIES, Boo Sze Yang shares, in this video, how the exhibition came about. In addition, he reveals to intersection.sg why he is uncomfortable with assuming the curator’s role, preferring instead, a system that is more unstructured and organic.
It is often said that a mother’s love knows best. True to its meaning, the children of late wildlife photographer Silvana Sutanto is returning the favor to preserve her legacy by setting up the Silvana S Foundation.
Presenting a total of 15 of Silvana’s best works, WILD & FREE is a tribute to her passion for life. Priced at $3,000 to $6,000, her works are for sale and proceeds for this foundation goes to Noah’s Ark Natural Animal Sanctuary.
Silvana had always felt compassion towards wild animals, especially those whose habitats are being threatened by humanity’s encroachment. Her works serve to raise awareness of their plight and bring us closer to nature.
Taken amidst rough terrain and harsh conditions in remote places, her works often depict the themes of love, family, and friendship among wild animals.
Silvana has left a legacy, not only with her family but also, through her works. We speak to Shaun Gozali on the Silvana S Foundation and Silvana’s personal journey of photographs taken over a span of nearly one and a half decades.
Yayoi Kusama is one of the world’s most influential artists. Known for her iconic dots, nets, pumpkins and infinity rooms, her art has captivated millions all over the world.– National Gallery Singapore
This year’s blockbuster artist at our 2 year old National Gallery Singapore is a anchored by a survey show of Japanese artist Yayoi Kusama, Life is the Heart of a Rainbow. As concisely described, there are lots of dots, big and small and in different colours, making up nets, articulating pumpkins and filling up spaces affectionately called ‘infinity rooms’.
Look out for revealing photographs of Kusama’s time in New York in the ’60s in the Singtel Special Exhibition Gallery. They are not artwork per se but are important for understanding the conditions that Kusama was working in.
Particularly fun are photographs of her early experimentations in fashion design. Initially, they were made for her performances and photography. Legend says that one day she had bumped into someone wearing her stolen design on the street. She tracked the pirate dressmaker down and the incident eventually led to the establishment of Kusama Fashion Company Ltd. in 1968. Unfortunately, it is no longer in operation so we cannot buy Kusama wear anymore except at Louis Vuitton, Uniqlo and X-girl. You could get socks at Gallery & Co. on the ground floor of National Gallery Singapore, though.
Kusama’s work is not only shown in the Singtel Special Exhibition Gallery but also sprawled across the Koh Seow Chuan Concourse Gallery, the City Hall Chamber and the UOB City Hall Courtyard.
The National Gallery of Singapore is the first to host a major survey of her work in Southeast Asia, a feat that can only be possible with the collaborative support of Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane, Australia; David Zwirner Gallery, New York; Ota Fine Arts, Tokyo, Singapore; Victoria Miro Gallery, London; and a significant number of Kusama’s collectors from Singapore and other parts of Southeast Asia. Life is the Heart of the Rainbow will travel to QAGOMA in November.
Learn more about the exhibition on the NGS website here.
Yayoi Kusama: Life is the Heart of the Rainbow
9 June – 3 September 2017
Singtel Special Exhibition Gallery
$15 (Singaporeans/PRs) / $25 (Non-Singaporeans)
Gallery Children’s Biennale: Dreams and Stories
20 May 2017 – 08 Oct 2017
Koh Seow Chuan Concourse Gallery
Free (Singaporeans/PRs) / $20 (Non-Singaporeans)
Yayoi Kusama: Dots Obsession
UOB City Hall Courtyard
Free for all
More information about ticketing here.
National Gallery Singapore
1 Saint Andrew’s Road, #01–01
+65 6271 7000
Sundays to Thursdays, 10am – 7pm
Fridays and Saturdays, 10am – 10pm
After Mizuma Gallery’s last Japanese exhibition, The Great Exhibition by Ken & Jula Yonetani, comes Aoyama Satoru and Ken Ikeda with The Age of Disappearance. Like the Yonetanis, Aoyama and Ikeda are dealing with concern about the state of people in today’s society. While the Yonetanis had dealt with visual symbols of a world corrupted by past our actions, Aoyama and Ikeda are taking a more activist stand, pointing out our own investment in further corrupting the present and future.
One of the first things that catches the visitor is the use of UV light in the show. The usual gallery spots switch on and off, providing 2 different views of the works on show. Both Aoyama and Ikeda use invisible ink in their works, which only shows up in the presence of UV light.
With Aoyama, beautifully hand embroidered maps of the world reveal political boundaries when the lights go off, pointing out the invisibility of the difference between people from two countries. The unmarked atlas suggests a world united while the invisible thread shows us the societal fabric that divides us all.
Ikeda also plays with invisibility, using luminous and non-luminous paint to produce documentation after musical performance. Nails hammered at random spots on wooden boards boast unique splash patterns that are enjoyable to look at twice: once in regular light and again in UV light. These modest wooden boards were once connected to a more sophisticated electrical setup to produce experimental music. Rubber bands connect the nails, producing tones when strummed. The paint is distributed by Ikeda’s fingers, which have been stained by both luminous and non-luminous paint. It is an interesting series of work for thinking about action: was it sufficient to think about music (action), or do we also think about the aftermath of music (the boards)? As an additional layer of fun, the boards are two-faced, unable to reveal itself to the viewer in a single look. You do need to look at it at least twice.
The show features many more works, including a few pieces jointly made by Aoyama and Ikeda. As an additional bonus to street art lovers, the work of local artist Anthony “ANTZ” Chong makes a special appearance in several of Aoyama’s works.
There are just 2 more weeks before the show ends. Find out more about the exhibition on Mizuma Gallery’s website.
The Age of Disappearance: Two-person exhibition by Satoru Aoyama and Ken Ikeda
1 July – 6 August 2017
22 Lock Road #01-34
+65 6570 2505
Tuesdays to Saturdays, 11am – 7pm
Sundays, 11am – 6pm
27 April – 30 July 2017
Aloft at Hermès
541 Orchard Road
#01-02A, Liat Towers
+65 6738 9807
Daily, 10.30am – 8pm