3-D glasses Cathay to sell - · PDF fileprime guitar was leisurely and casual, contrasted with...
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Review Art SITUATIONIST BON GUN Lasalle College of the Arts/Till April 10 Huang Lijie It is easy to harp on bygones or sink into mawkish nostalgia when one looks back on the past. Singapore’s leading contemporary art- ist Tang Da Wu, 70, however, stubbornly resists the urge to do so in his latest solo outing. The result is a show that discerns the past, takes stock of the present and looks forward to a form of artistic prac- tice that is aware of the socio-historical development of art here. Situationist Bon Gun focuses on Tang’s observations of Singapore’s con- temporary art scene since 1988, the year he returned from his artistic practice in London and founded the first artist colo- ny here, The Artists Village. The title of the show refers to the counter-culture artistic practice of the Situationist International movement in Europe in the 1960s. It also plays on the Hainanese expression “pom gang”, mean- ing “foolish”. The works speak of him as a firebrand artist with a practice rooted firmly in socio-politics and aimed to provoke action and change, although there is sur- prising affection in some of the pieces. Banquet (2013) shows the immediate aftermath of a round-table gathering gone awry. The moment of anguish is frozen. Chairs flung in all directions are either in midair flip or collapsed on the ground. The glass table top, cracked into razor-sharp sheets that cave inwards, is veiled by a white tablecloth with a patchy red stain. Another red splotch marks the floor next to a foot of the table. Nearby is a large stone in burnt sienna, its shape vaguely reminiscent of an ear. The chairs in Banquet bring to mind the recurring chair motif in Tang’s mixed media installation series First Arts Coun- cil, which began in 2011. The First Arts Council alludes to painter Vincent van Gogh’s suffering as an artist, spurned by the art establishment during his lifetime, and the posthumous fame he achieved through his sister-in-law’s efforts. The chair in First Arts Council, as well as those in Banquet, are similar in design to the chair in Van Gogh’s painting of his bedroom in Arles, France, where many of his masterpieces were made. Banquet reinforces the allusion with an umbrella bearing a print of Van Gogh’s popular painting, The Starry Night, floating high up in a corner of the room. What keeps the new installation from being a banal depiction of the fragile, volatile relationship between contempo- rary artists and the establishment in Sin- gapore is the yellow light that floods the tableau, preys on your mind, and pushes the work to its tipping point. It is the yellow aura of Van Gogh’s pal- ette, which saturates his paintings; of the urine that The Artist Villager Vincent Leow drank in the 1993 landmark per- formance art event where Josef Ng also snipped his pubic hair in public and trig- gered a dark decade of performance art proscription; of formalin that preserves, perchance, memories. Tang cannot forget what came before, perhaps because the present prevents him from doing so. In Sembawang (2013), which gets its name from the northern part of Singa- pore, a basic map of the area, probably from a time when sampans plied the wa- terways there (origami boats are placed on water bodies in the map), is painted on a platform of wooden slats. Sem- bawang was home to The Artists Village for two years until the land they occupied was repossessed by the Government for urban development. The area still exists but it is different, and the altered landscape is an indelible scar of The Artists Village’s loss. This idea is suggested by the work’s Chinese title, literally “wound scar”, a homophon- ic version of the area’s Chinese name. But why forget when the past can ener- vate one to strive for a future that does not repeat history? This spirit is embod- ied in Revolution (2013), where an unframed painting hung on the wall is illu- minated in a purplish-pink hue and caged in by steel bars. The smokey swirls of ink painting form a face with fierce eyes and fingers that hold a card inscribed with the Chinese character for “proof” or “wit- ness” pressed to the fore of the picture and seemingly against the bars. Tang seems vehement that socially engaged art should be the calling card for artists who are witnesses of develop- ments here. His exhortation may seem didactic if not foolish to some, but he poetically sets forth the opposite view in Brother’s Pool (2013). Blocks of rocks collected by the late Brother Joseph McNally, founder of the Lasalle College of the Arts, are arranged in a circular cluster ringed by metal sheets. Pooled around the rocks are frag- ments of broken mirrors and glowing white lights that illuminate the work. In a corner of the darkened room, a rough-hewn painted figure, suspended from the ceiling, looks down. The sublime, meditative work is a mon- ument to Brother McNally’s unwavering conviction to start an arts education cen- tre in the 1980s. His decision would have been foolhardy in a time when the arts was poorly recognised and received minor government support, but he pressed on and weathered the harsh artis- tic climate. Today, the school he founded stands as a success. In a similar way, Tang continues his artistic struggle stoically, hopeful of inspiring others to do the same. schizophrenic sort of melodr PhD student Ting supplyin lapsing into me Broadway mus The guitar bass, one si famous Air (fro 3), with a pers in the backgro the passage of ened as agitat work ending j audience and p as one guesses Gopal was statement, as w his Michinoku other major Composed as recovery from tsunami-radio its single mov short-winded display. Jonat prime guitar w contrasted wit interjections an guitar as percu As a salute brief and rhyt was aired, whi samba of Tho Street Dance. the ensemble wares, in qua Song Of Clou nambuco’s Po Bellinati’s Bai (Keigo Fujii’s tions), all of their musicalit Soprano Li presence, add sultry allure in Aria from V Brasileiras No. ing Tico Tico N guese. Not so reflection in mattered little ers should be e entertainers to Currently, a 3-D film screened at Cathay on Fridays to Sundays costs $15 for a ticket. It will cost $13 after the that it is “quite troublesome” to have to always bring your own glasses. “In the long run, it looks like it will been used by so many other people.” Another cinema operator, Golden Village, uses two different 3-D systems, did not reply to Life’s queries by press time. [email protected] In works such as Banquet (left), artist Tang Da Wu reflects on the development of the contemporary art scene here. PHOTO: LASALLE COLLEGE OF THE ARTS In praise of fools nex JCUBE LOT ONE
Transcript of 3-D glasses Cathay to sell - · PDF fileprime guitar was leisurely and casual, contrasted with...
Review Art
SITUATIONIST BON GUNLasalle College of the Arts/Till April 10
Huang Lijie
It is easy to harp on bygones or sink intomawkish nostalgia when one looks backon the past.
Singapore’s leading contemporary art-ist Tang Da Wu, 70, however, stubbornlyresists the urge to do so in his latest soloouting. The result is a show that discernsthe past, takes stock of the present andlooks forward to a form of artistic prac-tice that is aware of the socio-historicaldevelopment of art here.
Situationist Bon Gun focuses onTang’s observations of Singapore’s con-temporary art scene since 1988, the yearhe returned from his artistic practice inLondon and founded the first artist colo-ny here, The Artists Village.
The title of the show refers to thecounter-culture artistic practice of theSituationist International movement inEurope in the 1960s. It also plays on theHainanese expression “pom gang”, mean-ing “foolish”.
The works speak of him as a firebrandartist with a practice rooted firmly insocio-politics and aimed to provokeaction and change, although there is sur-prising affection in some of the pieces.
Banquet (2013) shows the immediateaftermath of a round-table gatheringgone awry. The moment of anguish isfrozen.
Chairs flung in all directions are either
in midair flip or collapsed on the ground.The glass table top, cracked intorazor-sharp sheets that cave inwards, isveiled by a white tablecloth with a patchyred stain. Another red splotch marks thefloor next to a foot of the table. Nearby isa large stone in burnt sienna, its shapevaguely reminiscent of an ear.
The chairs in Banquet bring to mindthe recurring chair motif in Tang’s mixedmedia installation series First Arts Coun-cil, which began in 2011. The First ArtsCouncil alludes to painter Vincent vanGogh’s suffering as an artist, spurned bythe art establishment during his lifetime,and the posthumous fame he achievedthrough his sister-in-law’s efforts.
The chair in First Arts Council, as wellas those in Banquet, are similar in designto the chair in Van Gogh’s painting of hisbedroom in Arles, France, where many ofhis masterpieces were made. Banquetreinforces the allusion with an umbrellabearing a print of Van Gogh’s popularpainting, The Starry Night, floating highup in a corner of the room.
What keeps the new installation frombeing a banal depiction of the fragile,
volatile relationship between contempo-rary artists and the establishment in Sin-gapore is the yellow light that floods thetableau, preys on your mind, and pushesthe work to its tipping point.
It is the yellow aura of Van Gogh’s pal-ette, which saturates his paintings; of theurine that The Artist Villager VincentLeow drank in the 1993 landmark per-formance art event where Josef Ng alsosnipped his pubic hair in public and trig-gered a dark decade of performance artproscription; of formalin that preserves,perchance, memories.
Tang cannot forget what came before,perhaps because the present preventshim from doing so.
In Sembawang (2013), which gets itsname from the northern part of Singa-pore, a basic map of the area, probablyfrom a time when sampans plied the wa-terways there (origami boats are placedon water bodies in the map), is paintedon a platform of wooden slats. Sem-bawang was home to The Artists Villagefor two years until the land they occupiedwas repossessed by the Government forurban development.
The area still exists but it is different,and the altered landscape is an indeliblescar of The Artists Village’s loss. Thisidea is suggested by the work’s Chinesetitle, literally “wound scar”, a homophon-ic version of the area’s Chinese name.
But why forget when the past can ener-vate one to strive for a future that doesnot repeat history? This spirit is embod-ied in Revolution (2013), where anunframed painting hung on the wall is illu-minated in a purplish-pink hue and cagedin by steel bars. The smokey swirls of inkpainting form a face with fierce eyes andfingers that hold a card inscribed withthe Chinese character for “proof” or “wit-ness” pressed to the fore of the pictureand seemingly against the bars.
Tang seems vehement that sociallyengaged art should be the calling card forartists who are witnesses of develop-ments here. His exhortation may seemdidactic if not foolish to some, but hepoetically sets forth the opposite view inBrother’s Pool (2013).
Blocks of rocks collected by the lateBrother Joseph McNally, founder of theLasalle College of the Arts, are arrangedin a circular cluster ringed by metalsheets. Pooled around the rocks are frag-ments of broken mirrors and glowingwhite lights that illuminate the work. In acorner of the darkened room, arough-hewn painted figure, suspendedfrom the ceiling, looks down.
The sublime, meditative work is a mon-ument to Brother McNally’s unwaveringconviction to start an arts education cen-tre in the 1980s. His decision would havebeen foolhardy in a time when the artswas poorly recognised and receivedminor government support, but hepressed on and weathered the harsh artis-tic climate. Today, the school he foundedstands as a success.
In a similar way, Tang continues hisartistic struggle stoically, hopeful ofinspiring others to do the same.
Review Concert
INTROSPECTION/REFLECTIONGuitar Ensemble of the National University of
Singapore
Yong Siew Toh Conservatory Concert Hall
Last Sunday
Chang Tou Liang
The annual concert by the GuitarEnsemble of the National Universityof Singapore is a popular and well-attended affair. This is, after all,Singapore’s premier Niibori guitarorchestra, founded by Singapore’s“Father of the Guitar” Alex Abishega-naden in 1981. The 87-year-old mas-ter was himself present to witness thetwo-hour-long concert that show-cased Singaporean, Japanese andBrazilian music.
The concert’s title was somewhatmisleading, because much of themusic played was light-hearted,Latin-flavoured and both, not leadingone to deeper thoughts or questioningthe status quo. The sole exceptionwas Singaporean Balraj Gopal’sImpatience, receiving its worldpremiere conducted by RobertCasteels.
Scored for massed guitars, stringquartet, percussion and voice, it ran aschizophrenic 13-minute course as asort of melodrama, with Life SciencesPhD student and soprano Lim YanTing supplying the voice-over andlapsing into mellifluous song, as if in aBroadway musical.
The guitars supplied a walkingbass, one similar to J.S. Bach’sfamous Air (from Orchestral Suite No.3), with a persistent tick-tock rhythmin the background as a reminder ofthe passage of time. The tempo quick-ened as agitation built up, with thework ending just as well before theaudience and performers ran out of –as one guesses – patience.
Gopal was making a legitimatestatement, as was Yuudai Hatanaka inhis Michinoku Guitar Concerto, theother major work of the concert.Composed as a reflection on Japan’srecovery from the 2011 earthquake-tsunami-radioactive fallout disaster,its single movement was decidedlyshort-winded with minimal angst ondisplay. Jonathan Chiang’s solo onprime guitar was leisurely and casual,contrasted with Ow Leong San’s fluteinterjections and the occasional use ofguitar as percussion.
As a salute to Abisheganaden, hisbrief and rhythmic Danza Flamencawas aired, which was a nice foil to thesamba of Thomas Brown’s BrazilianStreet Dance. Smaller groups fromthe ensemble also showcased theirwares, in quartet (Hirokazu Sato’sSong Of Clouds), quintet (Joao Per-nambuco’s Po De Mico), sextet (PauloBellinati’s Baio De Gude) and octet(Keigo Fujii’s Shabondama Varia-tions), all of which impressed withtheir musicality.
Soprano Lim, always a sparklingpresence, added several degrees ofsultry allure in the beautiful wordlessAria from Villa-Lobos’ BachianasBrasileiras No. 5, and Abreu’s swing-ing Tico Tico No Fuba, sung in Portu-guese. Not so much introspection orreflection in these numbers, but itmattered little as scholars and think-ers should be easily forgiven for beingentertainers too.
Yip Wai Yee
From Thursday, Cathay Cineplex-es will no longer be lending 3-Dglasses for free to moviepatrons wanting to catch 3-Dfilms.
Moviegoers will have to bring or buytheir own pair. Glasses will be sold at allCathay Cineplexes box offices, startingfrom $2 a pair for the most basic type ofRealD 3-D glasses and going up to $43 forlimited-edition or movie-themeddesigns. All the glasses can be reused.
At the same time, Cathay has cutticket prices to its 3-D movies by $1 to $2,depending on the day of the screening.
Currently, a 3-D film screened atCathay on Fridays to Sundays costs $15for a ticket. It will cost $13 after the
changes are implemented.Regular moviegoer Deborah Chan, 24,
is “generally in support” of the move byCathay.
The public relations associate, whowatches “three or four” 3-D movies ayear, says: “Since the glasses are reusa-ble, I can save a few dollars in the longrun as the movie tickets are cheaper. Andit’s good also that it reduces wastage.
“Plus, it’s a lot cleaner because theywould be worn only by me. I know thatcinemas clean their glasses, but you neverknow who has worn them before you.”
The downside, however, is that it is“rather inconvenient” to always bringyour own glasses, she says.
“Sometimes, if I just want to watch amovie on impulse, I may not have my 3-Dglasses in my bag. If I have to keep on buy-ing new ones, then I’m going to have thiscollection of 3-D glasses that I don’tneed.”
Moviegoer Tan Hwee Chin, 39, agreesthat it is “quite troublesome” to have toalways bring your own glasses.
“In the long run, it looks like it will
save you money, but how many 3-Dmovies will we watch, really? I won’tmind paying the extra few bucks everytime I watch a 3-D movie because mostof the time we go to the cinema, we’rewatching a 2-D movie.
“But from a hygiene point of view, it’sbetter to use our own. The glasses havebeen used by so many other people.”
Another cinema operator, GoldenVillage, uses two different 3-D systems,
depending on its cineplex location:RealD, which is what Cathay uses, andMasterImage.
A spokesman for Golden Village says ithas no intention to adopt the same planfor now.
Cinema operator Shaw Theatres,which also employs RealD 3-D systems,did not reply to Life’s queries by presstime.
In works suchas Banquet(left), artistTang Da Wureflects onthedevelopmentof thecontemporaryart scenehere. PHOTO:LASALLECOLLEGE OFTHE ARTS
In praiseof fools
Shaw Theatres staff with Avengers-themed RealD 3-D glasses. From Thursday,Cathay Cineplexes will sell 3-D glasses that moviegoers can reuse. PHOTO: ST FILE
Light thoughtsCathay to sell3-D glasses
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