Singapore Biennale 2011 - assessing the two works at Marina Bay

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The Singapore Biennale 2011 Open House - assessing the two interactive

artworks at Marina Bay

By tapping on curators, artists, educators and other art professionals, this research paper aims

to collect opinions and qualitative data in order to make an assessment of the two interactive

artworks situated at Marina Bay as part of the Singapore Biennale 2011. This includes

exploring their conceptual relevance to the theme of the Biennale, their appeal to both art

professionals and audiences, choice of artist and medium, their effectiveness, and finally,

what sort of any larger socio-cultural communication that can be read from the works.

AUTHOR: Benjamin Low Teck Hui

STUDENT ID: 12406

EMAIL: [email protected]

CONTACT: 97974063

PATHWAY: Interactive Art

LEVEL: One

An academic research paper submitted in partial fulfillment of the requirements for the

Diploma of Media Arts (Interactive Art)

Date of submission: 8 March 2011

LASALLE College of the Arts

© Benjamin Low Teck Hui



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Signed Statement

This paper represents my own work except where otherwise indicated or acknowledged. No

part of this essay has been or is concurrently submitted for any other qualification at any

other academic institutions.

Signed: ___________________

Name: ___________________

Student ID number: ___________________



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Contents

Section title Page

A. Background and objectives of research 2

B. Designing the survey 4

C. Analysis of data findings 6

D. Implications 10

Appendices

I. Extract of media release for SB11

II. Summary of data findings



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A. Background and objectives of research

The Singapore Biennale (SB) was established in 2006, and is Singapore’s “most

internationally significant contemporary art event and the largest contemporary art exhibition

in South East Asia”. It aims to “situate contemporary art from Singapore and Southeast Asia

within a broad international conversation1.”

The selection of artists, the carried theme, the kind of artworks displayed and the choice

of venues are all important, because they reflect current artistic trends, represent a particular

image that Singapore is sending to the world, and offer a kind of window into the larger

socio-cultural concerns of our times.

In this context, this paper looks at the Biennale through the lens of the two interactive

artworks situated at Marina Bay. There are four venues in total for the Singapore Biennale

2011 (SB11). While the other three venues carry most of the artworks, it is interesting to note

that Marina Bay only has two artworks, both of which are interactive.

Number of artists per venue

Singapore Art Museum/

SAM at 8Q : 15

National Museum of Singapore : 18

Old Kallang Airport : 28

Marina Bay : 2

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From these few facts alone, a number of interesting questions can be deduced: How are

they related to the theme Open House and convey the intended idea of “amplifying individual

experience in the city”? Would both audiences and critics like them? Why Marina Bay? Why

only two artworks? Why were these artists chosen? Why interactive? Is there any larger

socio-cultural context that can be read from the works and if so, what is it? All these will be

addressed in the survey.

For the survey which will be completed before the actual event, I will be formulating my

research as a hypothetical or theoretical inquiry, based on information found in the media

release in December 2010 (as opposed to field research). My research method is as follows:-

Research method

Data collection format: Survey

Date/Time of Activity: 25 Feb – 8 Mar 2011

Demographic of participants: i. Art professionals with at least five years in

industry (e.g. curators, educators, artists,

academics)

ii. Minimum of five persons who represent at

least five different organisations/ institutions

(e.g. schools, art organisations, galleries)

iii. Gender: both male and female

iv. Age: 30 and above

v. Nationality: both Singaporean and foreign



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B. Designing the survey

The survey is appended in Appendix III.

There are a number of considerations that I have to bear in mind in designing the survey:-

1. Providing information.

Since this is a hypothetical or theoretical research, and not field research, I need to

give my participants material on which they can base their opinions on, because there are

no physical samples for observation. While the media release is a suitable choice as it is

comprehensive and gives a clear and detailed description of the SB11, there is also too

much information.

It will put my participants off if they have to read it in its entirety, especially since this

survey is in the form of an electronic correspondence, the content of which cannot be

lengthy and complex. Therefore, I have extracted only relevant information and compiled

them into an abstract which I will send to my participants. Even then, the word count runs

to nearly 2000 words and 7 pages. This extract is appended as Appendix I.

2. Soliciting responses.

Soliciting responses is a difficulty faced in all surveys, and yet the more responses

there are, the better the quality and accuracy of the findings. I have to assume that my

respondents are busy people and have a short attention span. I will not approach strangers

and will only approach people I know so which should increase my chances of getting a

response. I will ask each respondent individually and be as polite in tone as possible.



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The fact that my respondents are art professionals means that the SB11 should be

related to their industry in some way or another, and the findings of the survey would

probably be of interest to them.

I must include the deadline for their response. In this case, it would be end of Sat 5

Mar, and I will be giving them ample time of about a week to fill in the survey.

3. Choice of open-ended questions or multiple choice

I have to bear in mind that although survey questions are more scientific because they

involve quantitative or measurable data, they are also closed questions which do not allow

nuances of meaning. Therefore a few open-ended questions are also necessary to obtain

qualitative data.

4. Limiting the number of questions.

The survey must be as short and succinct as possible, therefore each question must

count. The number of open-ended responses should be no more than five, and the number

of survey questions (which just requires a tick) can be more, but preferably no more than

ten.

5. Phrasing the questions

The questions have to be phrased in such as way so as to be unambiguous, and also be

as neutral as possible so as not to create bias in the findings.



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D. Analysis of data findings

Theme and Concept

“Merlion Hotel” is deemed to be rather relevant to the SB11 Open House theme (that

suggests the crossing of thresholds between public and private, where boundaries and borders

are made permeable), whereas Lozano-Hemmer’s light installation is deemed to be slightly

irrelevant. In other words, it is more difficult to relate the latter artwork to the theme.

While the two works at Marina Bay are meant to “offer spectacular encounters which

at the same time amplify individual experience”, the responses were somewhat neutral about

this, with Lozano-Hemmer’s light installation slightly favoured over “Merlion Hotel”. While

the light installation is definitely spectacular due to its scale and visual impact, it may be

difficult to relate to it from an individual point of view. The “Merlion Hotel” is more obvious

in its private experience of a public icon. However, it is not exactly as spectacular in its

visual impact.

Overall, both artworks are successful in its thematic relevance.

Appeal

The “Merlion Hotel” is deemed to be a fresh and original idea. While Lozano-

Hemmer’s light installation is also somewhat original as well, the artist is well known for

such similar works. Both works have universal appeal and audience friendly, as opposed to

being controversial, esoteric or provocative. Both artworks appeal to local and foreign

audiences alike and are attractive and engaging.

Overall, both artworks are original, have mass appeal and are audience friendly.



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Venue

As to the choice of Marina Bay for situating these two large scale interactive artworks,

the responses are generally neutral, which means that there may or may not be better choices.

However, the respondants generally think that Marina Bay could accommodate more than

two artworks, presumably due to its size.

Marina Bay can probably accommodate more than two artworks and other

venues could be considered as well for these two artworks.

Artist

Both Nishi and Lozano-Hemmer are deemed to be suitable choices of artist for these

commissions, presumably due to their reputation for their body of works.

When queried as to whether they think local artists are up to the task if commissioned

in place of these two world famous artists, the respondants are evenly split, with the four

local practicing artists having confidence in local artists and the other three disagreeing. This

is an interesting observation and reflects a very natural participant bias. The sentiment by the

local artists were that local artists in general should be given more public trust, support and

confidence, as they are usually sidelined in favour of famous foreign names when it came to

big media events like the National Day Parade, or big public commissions such as sculptures

or buildings.

Nishi and Lozano-Hemmer are suitable artists for the commission although

Singaporean artists should be considered as well.



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The interactive experience

There is unanimous agreement that the interactivity of the artworks enhances their

impact and effectiveness as well as the experience of it. Justifications include immersing the

audience to be involved in the artwork, and creating a memorable experience.

The respondants also felt that there should be more interactive artworks in future

Biennales. However, so far, when it came to new media artworks (which include interactive

artworks), only big names have been commissioned in previous Biennales.

Interactive artworks ought to be featured more in the Singapore Biennale.

Effectiveness

The “Merlion Hotel” succeeds in the way it challenges the viewer (hotel guests) to see

the cultural icon in a different way by interacting with it in a private space. Lozano-

Hemmer’s light installation succeeds in its scale and visual impact, which provides an

immersive experience. As opposed to the “Merlion Hotel”, it is also more democractic in its

audienceship as anyone can interact with the lights using the sound of their own voices, thus

empowering the masses. There were no strong suggestions for improving the artworks in any

way.

Both artworks are effective in their own ways and could probably not be

improved further.



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Socio-cultural relevance

For the “Merlion Hotel”, its socio-cultural relevance is not obvious nor immediately

clear. Some respondants hesitated to speculate, citing the need to experience it and the

dialogical process that would determine its socio-cultural content. Some respondants felt that

it is gimmicky and superficial, merely a tourist magnet. One respondant read from it the

championing of participatory art that challenges the notion of the white cube and also its

implication of a modern consumerist culture that wants to “consume” the artwork (bookings

for all 32 nights of the hotel were taken up in less than an hour when the telephone line was

opened for booking).

Again for Lozano-Hemmer’s light installation, the socio-cultural implications are not

clear as well. Some respondants hesitated to speculate, citing the need to experience it and the

dialogical process that would determine its socio-cultural content. One respondant cited it as

an abstract work that works on the level of individual perception and is hence more

sophisticated and layered than the “Merlion Hotel” in this sense. Some respondants read from

it the notion of power or empowerment of the audience by being able to control and

manipulate the light devices, participatory art being able to facilitate a two way flow of

meaning.

Both artworks’s socio-cultural relevance are not immediately apparent and

cannot be deduced from this survey.



Note:ThefollowingisanextractfromtheMediaReleasemeantforpurposesofasurvey

15December,2010

FULLLISTOFARTISTSANNOUNCED

AnOpenHousetoSingaporeasHome,CityandInternationalPort

ThethirdeditionoftheSingaporeBiennale(SB2011),OpenHouse,featuresover150worksby63artistsfrom30countries.Opentothepublicfrom13Marchto15May2011,thiseditionof

theBiennaleisledbyArtisticDirectorMatthewNguiandcuratorsRussellStorerandTrevor

Smith,andisorganisedbytheSingaporeArtMuseum(SAM)oftheNationalHeritageBoardand

supportedbytheNationalArtsCouncil,Singapore.

AstheleadingBiennaleinSoutheastAsia,SB2011situatescontemporaryartfromSingapore

andSoutheastAsiawithinabroadinternationalconversation.Thetitleisconceivednotasa

themebutasaninvitationoropenhouseontocontemporaryartisticpractice.Artists

practicesarenotsimplygroundedindescribingorportrayingsubjectsintheworld,butare

oftenactualattemptstoexchangeinformation,translateexperiencesandtradeplacesand

perspectives.OpenHousesuggeststhecrossingofthresholdsbetweenpublicandprivate,where

boundariesandbordersaremadepermeable.Itisinthisfluidspacethatcontemporaryart

oftenemerges,outofaneedtobridgethegapsbetweentheexperientialandthepsychological,

andbetweensocialandpoliticalhierarchies.

Focusedonthejourneyofmakingart,ratherthandefiningitsfinaldestination,SB2011studies

theseartisticprocessesandtheirrelationshiptothedailytransactionsthattakeplacebetween

people.Fromtradingobjectstoswappingstories,fromsharingfoodtodressingup,weare

constantlymakingexchangesasindividuals,groups,citiesandnations.OpenHousebrings

togetherartworksthatoffermultipleperspectivesandmyriadcreativeapproachestoquestions

ofhowwemoveacrossborders,seeotherpointsofview,andformconnectionswithothers.



onartisticprocessandtocommunicatethistoboththeSingaporeanpublicandinternational

visitors.Thisisnotaneasytask,ascontemporaryartistsprocessesaresodiverseandoftennot

immediatelyevident.ThecuratorialteamhaveworkedhardtoarriveattheheartofSB2011

OpenHousebyconnectingtheseartisticprocessestowhatwedoeveryday,suchasworking,

commuting,shopping,andeating,aswellas,obsessiveorrecreationalactivitiesinprivateor

public.Wehaveconsciouslyrelatedtheseprocessestotheurbanspacesinwhichtheytake

placeinSingapore,whichinturnhasshapedthestructureofeachexhibitionvenueandthe

placementofartworks.Workswillbepresentedinwaysthatrelatetotheprivatespaceofthe

home,transactionalspacesinthecityandfinallytoourports,whichprovidethespringboard

forinternationalexchange.Inthisway,ourexhibitionvenueshaveamoredirectconceptualand

Withthisfocusonartisticprocess,realspacesandpeople,morethanhalfoftheartistswillbe

creatingnewsite-specificcommissionsorpremieres.

VENUES&HIGHLIGHTS

SB2011OpenHouseispresentedacrossfourexhibitionvenues,eachwiththeirownparticular

character,thatdrawuponemblematicspacesinSingapore.

TheSingaporeArtMuseumandSAMat8Q...

TheNationalMuseumofSingapore...

OldKallangAirport...

TwomajornewcommissionsatMarinaBayofferspectacularpublicencounterswhichatthe

sametimeamplifyindividualexperience.

TatzuNishisTheMerlionHotelcontinuestheJapaneseartist sseriesofprivatestructuresbuilt

aroundpublicsculptureandurbanarchitecture.Nishisworkshiftsourrelationshiptopublic

space,offeringnewandintimateperspectivesonfamiliaryetofteninaccessibleurbanicons.For

theBiennale,Nishi,withthesupportoftheSingaporeTourismBoard,willbuildanoperational

luxurioushotelroomenvelopingSingaporesbelovednationalmonument,theMerlion.Oneof



thekeyglobalimagesofSingapore,theMerlionwillnowbeviewedanewbyvisitorsentering

thehotelroomduringtheday,orforthosewhobookearly,spendingthenight.

RafaelLozano-Hemmer,whoiswellknownforhislargescalepublicinteractiveworks,will

createanewlargescaleinstallationforMarinaBay,intheheartofdowntownSingapore.Using

smartphonetechnology,visitorstotheinstallationwillbeabletomodulateaseriesofrobotic

searchlightsthatformacanopyoflightbeamsoverthebaybyusingonlythepoweroftheirown

voice.

DirectoroftheSingaporeArtMuseum,MrTan

SingaporeBiennalehasasignificantAsianfocuspresentedwithinaninternationalframework.MatthewNguiasthefirstSingaporeanArtisticDirectorplaysacrucialroleinthisfromthe

titleOpenHouse,whichstemsfromtheSingaporeantraditionofopeningoneshometoone

anotheronfestiveoccasions,toopeningupcreativespaceswithintheSingaporeanlandscape

forartistsfromallovertheworldtodrawinspirationfrom,creatingworksthatreflectourlives,

andthefabricandsoulofthecity.AsSingaporesmuseumthatpromotescontemporaryartand

cultureoftheregion,SAMisexcitedtoworkwithMatthewandhiscuratorialteamtorealiseour

twinmissionsofmakingtheBiennaleadistinctiveinternationalvisualartexhibitionthatis

Intheworldsbusiestport,amulticulturalcitybuiltontradeandcommerce,OpenHouseplugs

Singaporeintothelatestdevelopmentsincontemporaryvisualculturearoundtheworld.

LISTOFSB2011ARTISTS

*INDICATESNEWORCOMMISSIONEDWORK

29 Rafael

Lozano-

Hemmer

*

Male 1967 Mexico Montreal

38 Tatzu

Nishi*

Male 1960 Japan Berlin/

Tokyo



INFORMATIONANDBIOSONSELECTEDARTISTS

MARINABAY

RafaelLozano-Hemmer

Born1967,MexicoCity,Mexico;livesandworksinMontreal

RafaelLozano-Hemmerisanartistwhodevelopsinteractiveinstallationsattheintersectionof

architectureandperformanceart.Hisworkstaketheformofkineticsculpture,responsive

environments,videoinstallationandphotography,withacentralinterestincreatingplatforms

forpublicparticipation.Whileoftenspectacularinscale,hisworksalwaysmaintainalevelof

intimacyandindividualagency.

ForSB2011,Lozano-Hemmerwillcreateanewlarge-scalelightinstallationforMarinaBay.

Usingsmartphonetechnology,visitorswillbeabletopersonallymodulateaseriesof

searchlightsthatformacanopyoflightbeamsoverthebay,usingtheindividualcharacteristic

orpoweroftheirownvoice.

Bio:SoloexhibitionsandprojectsthroughoutNorthAmerica,Europe,JapanandAustralia,and

theMexicanPavilionattheVeniceBiennale(2007);GroupexhibitionsincludetheBiennaleof

Sydney(2006);Pre-Emptive,KunsthalleBern(2006);ShanghaiBiennale(2004);Liverpool

Biennial(2002);IstanbulBiennial(2001);HavanaBiennial(2000).

TatzuNishi

Born1960,Nagoya,Japan;livesandworksinBerlinandTokyo

TatzuNishiusesscaleanddistanceinhisinstallationstoproposefreshperspectivesonwhat

mightbetakenforgrantedorotherwiseseemordinary.Hisbest-knownprojectshaveinvolved

thebuildingofroomsaroundpublicmonumentsorarchitecturalelements.Theresultistwo-

fold:ononehand,aninstantsculptureappearsinaprivatespace,andontheother,thatsame

piecedisappearsfromthepublicsphere.Withintheroom,thisdramaticshiftfrompublicto

privatecreatesanencounterwiththesculpturethatisbothfascinatinganduncanny;thereis

egalitarianisminNishisdesiretoexposearttoall.



TheMerlionHotel ,NishisprojectforSB2011,comprisesaluxurioushotelroombuiltaround

Singaporesnationalmonument,theMerlion,offeringaudiencesanentirelynewrelationshipto

thisgloballyrecognisedsymbol.

Bio:SoloexhibitionsandprojectsinTokyo,LosAngeles,Dublin,BaselandSydney;Group

exhibitionsincludeTwistandShout ,BangkokArtandCulturalCentre(2009);ScapeBiennial,

Christchurch(2008);Ecstasy,MoCA,LosAngeles(2005);ProjektMigration,Kölnischer

Kunstverein,Cologne(2005);YokohamaTriennial(2005);SevilleBiennial(2004);Liverpool

Biennial(2002).

ABOUTTHEEXHIBITIONVENUES

MARINABAY

MarinaBaywasformedthroughlarge-scalelandreclamationprojectsthatbeganinthe1970s.

IttransformedthemouthoftheSingaporeRiverintoanurbanamphitheatre,creatingthe

centreofthecitysfinancialandculturalprecinctsandasiteformajoreventsincludingNational

DayandNewYearcelebrationsandtheFormula1SingaporeGrandPrix.SincetheMarina

Barragewascompletedin2008,MarinaBayhasfunctionedasafreshwaterreservoir,an

importantcomponentofthecitysself-sufficiencyprogram.Itsconstantlytransforming

landscapeissymbolicofSingaporesurbanplanningandhopesforthefuture.

SINGAPOREBIENNALEFACTSHEET

1.Numberofworks: Over150

2.Numberofartists: 63

3.Geographicaldistribution(artistslivingandworkingin)

Asia: 27(43%)

(SoutheastAsia,China,

Japan,Korea,India,Pakistan)

Europe: 17(27%)

NorthAmerica: 10(16%)



Australia&NewZealand: 5(14%)

MiddleEast: 3(5%)

Africa: 1(1%)

4.Numberofcountries/regions: 30

5.Numberofcommissionedartists: 34artists(54%)

6.Genderdistribution: 50male,20female

(inclusiveofindividualartists

incollectives)

7.Numberofvenues: 4

8.Numberofartistspervenue

SingaporeArtMuseum/: 15

SAMat8Q

NationalMuseumofSingapore: 18

OldKallangAirport: 28

MarinaBay: 2

TheSingaporeBiennale,establishedin2006,is

significantcontemporaryarteventandthelargestcontemporaryartexhibitionin

SouthEastAsia.InitiatedbytheNationalArtsCouncil,the2011editionisorganisedbythe

SingaporeArtMuseum.

TheSingaporeBiennalehasalwaysworkedwithsignificantsitesinSingapore,exploring

theuseofdifferentvenuesinSingapore.SB2011isnodifferent ,presentedatthehistoric

KallangAirport ,Singaporesfirstcivilairport,aswellastheSingaporeArtMuseum,the

NationalMuseumofSingapore,andMarinaBay.

TheBiennaledemonstratesthediversityofcontemporaryartpracticefromaroundthe

world.In2011,OpenHousewillfeaturetheworkof63artistsfrom30countries,with

aroundhalffromAsia,particularlySouthEastAsia.



TheBiennalehasconsistentlyshowcasedtheworkofSingaporeanartists,placingtheir

workwithinaninternationalcontext .ForOpenHouse,9ofthe63artistsinthe

exhibitionarefromSingapore,thelargestproportiontodate,withmostpresenting

worksnewlycommissionedfortheBiennale.

ThecommissioningofnewworkshasbeenasignificantcomponentofeachBiennale.For

OpenHouse,overhalfoftheartistsarepresentingnewcommissions.Anumberofthese

worksaredevelopedinSingapore,workingwithlocalcommunitiesandrespondingto

specificsites.

AspartoftheBiennaleslong-termcommitmenttodevelopingandengaginglocal

audiences,anumberofpublicandeducationprogrammeshavebeendeveloped.isamajordrawingandanimationprojectdevelopedbyArtistic

DirectorMatthewNguitoinvolveover3,000childrenfrom47localprimaryandsecondary

schoolsintheBiennale.ThefinalresultwillbepresentedasamajordisplayattheOld

KallangAirport.



7 responses

Summary See complete responses

Respondant info

Your name

ong kian peng Alvin Tan Teresa Almeida Ke lvin Tan Ryf Zaini david chew andreas

Your appointment/ position/ title/ job description

part time lecturer, new media artist Artistic Director Lecturer part time lecturer and artist Educator, Practicing Visual

Arti st curator educator

Your institution/ organisation/ collective

lasalle college of the arts, pmp collective, independent The Necessary Stage LASALLE College of the Arts LASALLE College of the

Arts LASALLE college of the arts, DMR SAM lasalle

Theme and concept

1a. For Nishi's "Merlion Hotel", how relevant do you think that the concept of the artwork is to the theme "Open House", thatsuggests the crossing of thresholds between public and private, where boundaries and borders are made permeable?

Not relevant Very relevant

1 - Not relevant 0 0%

2 1 14%

3 0 0%

4 5 71%

5 - Very relevant 1 14%

1b. For Lozano-Hemmer 's light installation, how relevant do you think that the concept of the artwork is to the theme "Open

House", that suggests the crossing of thresholds between public and private, where boundaries and borders are madepermeable?



2 2 29%

3 4 57%

4 1 14%


Comments

while lozano's work might be relational and participatory, I don't really see how it fits into the idea of "open house". Conceptually, both projects'

interactive element seems inclusive enough to enable the crossing of thresholds between public and private. We have to see how the public relates

to them. Not a fan of the Biennale.



2a. For Nishi's "Merlion Hotel", how true do you think it is to the sta tement "Two major new commissions at Marina Bayoffer spectacular public encounters which at the same time amplify individual experience.



2 2 29%

3 3 43%

4 1 14%


2b. For Lozano-Hemmer 's light installation, how true do you think it is to the statement "Two major new commissions atMarina Bay offer spectacular public encounters which at the same time amplify individual experience.



2 2 29%

3 2 29%

4 1 14%


Comments

no comments The element of class may not have been factored in.

Appeal

3a. For Nishi's "The Merlion Hotel", how would you rate its originality? i.e. it is something new, not familiar, not done before.

Commonplace and overdone ideaFresh and original idea

1 - Commonplace and overdone idea 0 0%

2 1 14%

3 1 14%

4 5 71%

5 - Fresh and original idea 0 0%

3b. For Lozano-Hemmer's light installation, how would you rate its originality? i.e. it is something new, not familiar, not donebefore

Commonplace and overdone ideaFresh and original idea

1 - Commonplace and overdone idea 0 0%

2 1 14%

3 3 43%

4 3 43%

5 - Fresh and original idea 0 0%

Comments

To be honest, i think Lozano is suffering from the " the more famous i get, the louder it must get " syndrome. - personal opinion



4a. For Nishi's "Merlion Hotel", how would you rate its currency, i.e. acceptance, validity and circulation?

Avant garde/ esotericWidely accepted

1 - Avant garde/ esoteric 0 0%

2 1 14%

3 2 29%

4 1 14%

5 - Widely accepted 3 43%

4b. For Lozano-Hemmer's light installation, how would you rate its currency, i.e. acceptance, validity and circulation?

Avant garde/ esotericWidely accepted

1 - Avant garde/ esoteric 0 0%

2 0 0%

3 3 43%

4 1 14%

5 - Widely accepted 3 43%

Comments

no comments Very mainstream appea l

5a. For Nishi's "The Mer lion Hotel", do you think that the artwork would appeal more to foreigners or locals?

Locals 0 0%

Foreigners 2 29%

Both equally 5 71%

People may select more than one checkbox, sopercentages may add up to more than 100%.

5b. For Lozano-Hemmer's light installation, do you think that the artwork would appeal more to foreigners or locals?Locals 1 14%

Foreigners 1 14%Both equally 5 71%


Comments

it's a bit more challenging for the local art audience

6a. For Nishi's "Merlion Hotel", how would you rate its level of engagement with the audience, i.e. attractiveness andappeal?

1 - Disengaging 0 0%

2 0 0%

3 2 29%



Disengaging Very engaging

5 - Very engaging 1 14%

6b. For Lozano-Hemmer's light installation, how would you rate its level of engagement with the audience, i.e. attractivenessand appeal?

Disengaging Very engaging

1 - Disengaging 0 0%

2 0 0%

3 2 29%

4 4 57%

5 - Very engaging 1 14%

Comments

This work is visually very powerful and it brings attention upon the area and the work itself just with the lights itself. Also, the attractive factor also

goes out to non art audiences.

Venue

7a. The two artworks are considered large sca le artworks. Marina Bay is the latest large scale urban project in Singapore

(reservoir, integrated resorts, financial centre, National Day venue, F1 Grand Prix). Do you think that there is a good matchof artworks to the choice of site?

Not at all Very much so

1 - Not a t a ll 0 0%

2 3 43%

3 1 14%

4 2 29%

5 - Very much so 1 14%

7b. Do you think Marina Bay could see more than two artworks?Yes 5 71%

No 2 29%

People may select more than one checkbox, so

percentages may add up to more than 100%.

Comments

definitely. Not a big fan of Marina Bay.

Artist



a. o you n a zu s s an appropr a e c oce o ar s or s par cuar comm sson

Many other better choicesHis previous works make him the perfect candidate

1 -Many other better choices 1 14%

2 0 0%

3 1 14%

4 4 57%

5 -His previous works make him the perfect candidate 1 14%

8b. Do you think Lozano-Hemmer is an appropriate choice of artist for this particular commission?

Many other better choicesHis previous works make him the perfect candidate

1 -Many other better choices 1 14%

2 0 0%

3 2 29%

4 3 43%

5 -His previous works make him the perfect candidate 1 14%

Comments

Lozano is famed for his relational architecture works but it does not really touch on "personal" or "private" spaces. Nishi's idea has been

attempted many times before. Treatment of light is quite interesting for Lozano's artwork.

9. Lozano-Hemmer and Nishi are world renowned artists. The artworks at Marina Bay are one of the highlights of theBiennale and have received the most media coverage. Do you think that Singaporean artists currently have the capacity to

create such comparable artworks (E.g. the ability to conceptualize and execute such artworks)?

Yes 4 57%

No 3 43%


Comments

but its very political and choosing big names is like spending a bigger budget on advertising. If given sufficient support and trust. Definitely

yes. local talents are always sidelined by foreign talent. Merlion was a Originally design by a foreign talent and so was the merlion sculpture at

Sentosa, by an australian artist. Even the NDP planning was done by foreign agency.

Interactive element

10a. For "The Merlion Hotel", do you think that the impact of the artwork would be lessened if it were not interactive, i.e. theaudience merely has to observe?

Yes 7 100%

No 0 0%



on y e one e n c ose oors. - none

13b. For Lozano-Hemmer's light installation, what improvements or modifications (if any) would you make to the ar twork if given the choice?

I actually find Ashok Sukumaran's Park view hotel to be alot more relevant to the theme, to be honest. http://0ut.in/parkviewhotel/ fyi Ashok

Sukumaran was in the first biennale if im not wrong. I would definitely improve on it, but I have no idea offhand on how i can achieve that. And (my

feeling) is that Lozano himself had problems trying to effectively communicate that. None. none None. Quite an interesting treatment of light.

Icons that project to the sky, aka batman symbol. But animated. gives the pilots something amusing to work with. - none

Socio-cultural relevance

14a. What socio-cultural relevance, if any, do you read from "The Merlion Hotel"? Do you think the artwork is trying to say something, i.e.

making some statement on culture?

I cannot answer this until see the work in person. It's not the artwork saying something. It's the interaction between the artwork and the audience.

Each person would have a different experience and we would need to find out from each participant to describe his/her experience to determine

what is the socio-cultural relevance. It's a dialogic outcome. as above Nothing. The whole artwork is superficial to me. Basically, i can do this,

and they allow me to do this, so why not ? Actually, its the idea of relocation of a familiar place to somewhere less ordinary. A unique place where its

built t ...

14b. What socio-cultural relevance, if any, do you read from Lozano-Hemmer's light installation? Do you think the artwork is trying to say

something, i.e. making some statement on culture?

I cannot answer this until see the work in person. See response above. as above There could be some socio-cultural relevance although it is

not obvious. The artwork may work on the level of perception or consciousness. The abstraction leaves room for interpretation. Lozano-Hemmer

always has a strong personal vision which I respect. His works are showy but often has a deeper purpose behind it. In this sense, it is more

sophisticated than The Merlion Hotel. To be able to CONTROL such devices and manipulate them. - participatory art, art doesnt have to be

just a one-way communication, making visibl ...

Others

Any other thoughts

Local artists should also have a chance to express their thoughts or ideas through an open call. Wonderful conceptual and participatory pieces,

appropriate for the third edition of the Singapore Biennale especially with its Open House theme. Apt and relevant. -

Number of daily responses

Singapore Biennale 2011 - assessing the two works at Marina Bay

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Transcript of Singapore Biennale 2011 - assessing the two works at Marina Bay