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New works by Tang Da Wu

1 September, 2017 by Chloe

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Hak Tai’s Bow, Brother’s Pool and Our Children: Tang Da Wu is a two-part exhibition featuring three series of work that make up the name of the show. The first part consists of Hak Tai’s Bow and Brother’s Pool (4 August to 4 September) while the second part will present Children’s Pool (8 September – 8 October).

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The overarching concept that drives the show seems to be teaching figures. Part 1 is billed as a tribute to Lim Hak Tai and Brother Joseph McNally, the founding principals for NAFA and LASALLE respectively. Part 2 is described as a showcase of works that illustrate Tang Da Wu’s teaching experiences over the years. As the founder of The Artists Village (TAV), one of the most influential artist collectives in Singapore from the 1980s to the present, Tang stands alongside Lim and Brother McNally as a significant figure of art education in Singapore.

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The exhibition itself is a blend of conventional “art objects” and processual works that express a certain desire to achieve effective pedagogy. The skeletal nature of Six horses representing the six principles by Lim Hak Tai for art education is echoed in a drawing of a similar horse skeleton on the side. Heavily annotated, this drawing is similar to the kind of image we might find in anatomy or general medical studies, casting an educational light to the sculptures.

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On this side of the gallery, there is also an area demarcated “Art Teacher’s Seminar”. A site that is literally used for a seminar with trainee art teachers by Tang, exploring its objects is sadistically delightful. The ex-student will find great pleasure in knowing that their teachers are equally messy and confused, though not exactly completely disorganised.

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Through workshops, performances and other activities, this first part of the show transitions easily into one about Tang’s practice. Opening next week, it is definitely a show worth looking out for, for artists, students and collectors looking to understand the life and work of an artist outside of their art objects.

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Hak Tai’s Bow, Brother’s Pool and Our Children: Tang Da Wu
4 August to 4 September, 8 September to 8 October 2017

The Ngee Ann Kongsi Galleries 1 & 2
NAFA Campus 1
80 Bencoolen Street
Singapore 189655
nafa.edu.sg

11am – 7pm
Closed on Public Holidays

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Must See Southeast Asian Art Show

31 August, 2017 by Chloe

Lee Wen, Strange Fruit, 2003. Exhibited at National Art Centre Tokyo

Lee Wen, Strange Fruit, 2003. Exhibited at National Art Center, Tokyo

The biggest and most comprehensive show on Southeast Asian contemporary art in recent years, SUNSHOWER: Contemporary art from Southeast Asia 1980s to now is presented by SEA Project at the Mori Art Museum and National Art Center, Tokyo. This show features eleven Singaporean artists, namely: Amanda Heng, Lee Wen, Suzann Victor, Koh Nguang How, Lee Shengen, Ming Wong, Sheman Ong, Zulkifle “Zul” Mahmud, Ho Tzu Nyen, Boo Junfeng and Ho Rui An.

Ho Tzu Nyen, 2 or 3 Tigers, 2015

Ho Tzu Nyen, 2 or 3 Tigers, 2015. Exhibited at National Art Center, Tokyo.

With 10 ASEAN countries, it seems like an impossible task to know and choose works for this survey exhibition. It is not known if the two institutions had even known the scale of what they had pledged to do from the start. Neither boasts a substantial Southeast Asian art collection. Nonetheless, the project marched on. In 2014, SEA Project was organised, including ten curators from the Japanese institutions and four curators from Southeast Asia, namely Merv Espina, Vera Mey, Ong Jo-Lene and Grace Samboh.

Koh Nguang How, Shui Tit Sing - 100 Years of an Artist through His Archives, 2014. Exhibited at National Art Centre Tokyo.

Koh Nguang How with Lee Shengen, Shui Tit Sing – 100 Years of an Artist through His Archives, 2014. Exhibited at National Art Center, Tokyo.

SEA Project set out to fill in the gaps in the institutions’ knowledge. To this end, the newly recruited team spent 2 and a half years conducting research in Southeast Asia and Southeast Asian art before unveiling SUNSHOWER. Meanwhile, their website had acted as a deposit of field notes, a delightful and rare insight into the work of a curator. It is a great example of what it means to do primary research in contemporary art and work remotely in a team. While Merv, Vera, Jo-Lene and Grace were based in Southeast Asia, they were not in the same country as each other or the Japanese curators, a familiar problem to collaborating art institutions. One method is through a dropbox utility. Unlike other projects, the SEA Project team had made their dropbox public, allowing us another look into the making of the exhibition.

Amanda Heng, Another Woman No.2, 1996. Exhibited at National Art Centre Tokyo.

Amanda Heng, Another Woman No.2, 1996. Exhibited at National Art Center Tokyo.

Looking directly at the exhibition, SEA Project had accomplished quite a lot. Featuring “approximately 180 works by 86 artist groups from the 10 ASEAN countries,” the show is comprehensive in more than just geography. To take the example of Singapore, the artists chosen dabble across sculpture, performance, the archive, sound, photography, film, painting and installation.

Boo Junfeng, Happy and Free, 2013. Exhibited at National Art Centre Tokyo.

Boo Junfeng, Happy and Free, 2013. Exhibited at National Art Center Tokyo.

Of note is Boo Junfeng, who is really more of an accidental artist whose first “artwork” was a commission by the Singapore Art Museum. We usually know him better for his films and as the only Singaporean filmmaker who has had two films accepted into Cannes Film Festival, the most prestigious film festival in the world. Last year, his second Cannes film, The Apprentice, premiered in Cathay Cineplexes, Golden Village and The Projector. In terms of art, his only non institutional show to date is with Pearl Lam Galleries Singapore, The Third Script curated by David H.Y. Chan. Those in Hong Kong between September to November will be happy to find know that The Third Script will be travelling to Pearl Lam Galleries’s SOHO space (22 Sep – 3 Nov ’17).

Zul Mahmod, VIBRATEvibration, 2017. Exhibited at Mori Art Museum.

Zul Mahmod, VIBRATEvibration, 2017. Exhibited at Mori Art Museum.

Another interesting artist is Zul, who represents the small but strong group of sound artists in Singapore. While local music seems to be going down (LUSH 99.5FM will be making its last transmission tonight), there remains a critical mass of expert musicians and sound technicians. Some of them have embraced the possibilities of contemporary art, to our fortune. Those who visited Singapore Biennale 2016 would remember Zul’s SONICreflections, which won the Soichiro Fukutake Prize, a prize that was literally set up for him. His work is definitely not something to leave out of a show that aims to trace the development of art in Southeast Asia.

Suzann Victor, Veil - See like a Heretic, 2017. Exhibited at National Art Centre Tokyo.

Suzann Victor, Veil – See like a Heretic, 2017. Exhibited at National Art Center Tokyo. (Photo: Ueno Norihiro)

If the case of Singapore is any indication, any supporter of Southeast Asian contemporary art should catch the show if they can. Hopefully, SEA Project will remain active and their obvious expertise will be used for further presentations of art to our benefit.

SUNSHOWER: Contemporary art in Southeast Asia 1980s to now
5 July to 23 October, 2017
sunshower2017.jp
Special Exhibition Gallery 2E, The National Art Center, Tokyo, and
Mori Art Museum
1,000 yen for a single venue, 1,600 yen for both venues

Special Exhibition Hall 2E, The National Art Center, Tokyo
7-22-2 Roppongi
Minato-ku, Tokyo 106-8558
nact.jp
Sundays and Mondays, Wednesdays and Thursdays, 10am to 6pm
Fridays and Saturdays, 10am to 9pm
Closed on Tuesdays

Mori Art Museum
53F, Ropppongi Hills Mori Tower, 6-10-1 Roppongi
Minato-ku, Tokyo 106-6150
www.mori.art.museum
Tuesdays, 10am to 5pm
Wednesdays to Mondays, 10am to 10pm

Exhibition travels to Fukuoka Asian Art Museum from 3 November to 25 December 2017

Art Exhibitions Art Gallery Events this month Installation Mixed media modern & contemporary art Museums Painting Photography Sculpture Second Generation Artists Singapore Art Travel world Cambodia Indonesia Laos Malaysia Myanmar Philippines Singapore Southeast Asia Thailand Vietnam

Rivières by Khan Siong Ann

8 February, 2017 by Tim McIntyre

Second Generation Singapore artist Khan Siong Ann has teamed up with Goshen Art Gallery to stage an exhibition of his oil paintings titled Rivières.

Born in Guangdong in 1942, Khan studied art at NAFA and not long after his graduation in 1967, relocated to Paris where he spent the next 15 years honing his talents. Since his return to Singapore in 1989, Khan has participated in numerous exhibitions both internationally and domestically.

Some 45 of the artist’s works spanning 37 years will be on display, including earlier paintings from the 1970s as well as more recent works from 2016.

Curated by Jack Yu from Goshen Art Gallery, the exhibition will be held from 2 February to 30 April 2017 at the Public Art Space at The Pan Pacific Hotel.

For purchasing enquiries or more information about Khan Siong Ann’s paintings, contact Goshen Art Gallery or call +65 9742 3621.

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Art Exhibition Spotlight

Waterfall by Hiroshi Senju
Waterfall by Hiroshi Senju

Passion.Innovation.Excellence

Passion.Innovation.Excellence
Wild & Free @ The Visual Arts Centre
Wild & Free @ The Visual Arts Centre

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