The Pocket Arts Guide (July Issue)

TLuxe ad Confabulation 2011 6/17/11 6:55 PM Page 1

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C M Y CM MY CY CMY K

POP AND CONTEMPORARY FINE ART

FEATURED ARTISTS:ANDY WARHOL DAMIEN HIRSTKEITH HARINGYAYOI KUSAMA

BURTON MORRIS TAKASHI MURAKAMIROBERT LONGOROY LICHTENSTEIN

Burton Morris - Chanel Green

390 Orchard Road, Palais Renaissance 03-12 Singapore 238871 Tel: +65 6735 0959 Hours: TUE - Sat 11:30 - 6:30 Sun12:00 - 5:00

www.popandcontemporaryart.com

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JULY 2011 / 3

Contents

In the FrameHwang Sae Jin – Fabric of Life

FeatureJason Lim – Duet and Still/Life in Poland

storyEnter the Auteurs

GlimpseThe Thirteenth Sign and masks of god

Art LandsIndonesia – Light of the Shadows

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Contents

Art WireGalleries updates and events

Market VoicesConnoisseur’s passion for art pays off

Chan Hampe in Hong Kong.

spaceTouched by the hand of God

Art Hong Kong 2011Cash of the Titans

PerspectivesArt of the Sale

MapArt Galleries in Singapore

Directory Listing

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Hwang Sae Jin (Korea): Together but Different Dream, 2008. Acrylic on Canvas with

fabric. 130 X 97cm

ISSN 2010-4375 / MICA (P) 252/09/2010

Editor-in-Chief Remo Notarianni remo@thepocketarts- guide.com

Art DirectorMelvin Ho melvinho@thepocketarts- guide.com

Contributors Nick Walker, Daniela Beltrani, Bharti Lalwani

Advertising [email protected]

General enquiries and [email protected]

Submission of press [email protected]

ditor’se letter

Dear Readers,As expected, there is still a lot of coverage of Art HK (11) in the July issue of The Pocket Arts Guide (TPAG). It is not that our publication hasn’t got over it. It is a time for reflection, following an event that is said to epitomise an ‘eastward’ shift in the market. But it is also important to look closely at the debates surround-ing it, not to mention the hype. The corporate efficiency of a venue that is mainly used to business expos was dream-like in the way it showcased mirages of creative talent. If you didn’t know it was him, one could have easily looked at Takashi Murakami, who was seen walking around the booths, and said: “That man looks exactly like Takashi Murakami. He must be a fan.” Art fairs, with families and children meandering around contemporary oddities, sometimes resemble Disneylands with art deco TVs and flies in resin. If they do become more popular and art becomes better under-stood by everyone, could that be a vision of the future? The business somehow highlights just how surreal the idea of money is. This issue thematically links in many ways. In the Frame is about Korean artist Hwang Sae Jin who explores material desire and the truth in floral beauty. There’s a strange carnival going on Art Lands looks at Indonesia’s Wayangs or puppet theatres. There are some stunning masks from LA’s Petra Gallery that mix the cosmic with comic book heroism. There’s much to enjoy in this issue and with some great artistic value for all.

Remo Notarianni Editor-in-Chief

On the Cover

JULY 2011 / 5

New LookThe Pocket Arts GuideAugust 2011

THE POCKET ARTS GUIDE PTE LTD (TPAG) 215 Henderson Road, #03-03, Henderson Industrial Park Singapore 048545All advertising bookings and materials for TPAG should be received by 21th each month.Printed in Singapore by International Press Softcom Limited.Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 2010-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches. The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.

Published monthly, complimen-tary copies of TPAG are available at several places in Singapore, Hong Kong and the United Kingdom.SINGAPORE: Copies are distrib-uted at the Singapore Art Museum (SAM), Singapore Tourism Board’s Singapore Visitors Centre at Or-chard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Art Trove. Pop & Contemporary, Bruno Art and Indigo Blue Art)HONG KONG: TPAG is widely dis-tributed in Hong Kong and can be found in popular restaurants, bars, cafes and major art venues. Among other places, complimentary cop-ies are available at the Fringe Club, Post-97, Club 71, the Dharma Den and the Bookshop at the Hong Kong Arts Centre. It is also distrib-uted in a wide range of galleries. Browsing copies are available at branches of Uncle Russ Coffee.THE UNITED KINGDOM: TPAG is available at select cafes and art venues around the UK and com-plimentary copies can be found in major galleries, including the Alan Cristea Gallery, in London.

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Recycle.Pass THE POCKET ARTS GUIDE forward.

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Collectors Contemporary presents the second installment of the highly successful Pop! an exhibition celebrating a genre that has become a perennial favourite. Together with works by early Pop superstars such as Andy Warhol, Keith Haring and John Baldessari, this showcase also presents works by current sensations Takashi Murakami, Cake & Neave and Static, amongst others. Offering art audiences an exciting opportunity to appreciate its evolution and legacy. The Pop Art movement began in the 50s, reflecting the post-war society fascination with popular culture. It celebrated everyday objects such as soup cans, washing powder, comic strips and soda bottles etc., transforming the banal into icons that characterized the era. As we move into the second decade of the millennia, pop culture has never been more celebrated. A resurgence of this movement can be seen the world over, influencing artists from South America, Europe, Southeast Asia, China, Korea and Japan.

POP! POP! pays homage to the pioneers of this movement whilst exploring its legacy.

Exhibition runs from

16th June – 21st July 2011

Opening Reception 16th June, Thursday, 7 to 9 pm

Collectors Contemporary 5 Jalan Kilang Barat (off Jalan Bukit Merah) #01-03 Petro Centre Singapore 159349 Nearest MRT: Redhill Station

Tuesdays to Saturdays 11am to 7pm closed Sundays, Mondays and public holidays

PRESS RELEASE

JULY 2011 / 9

Collectors Contemporary presents the second in-stalment of Pop! an exhibition that celebrates a highly influential genre. Pop!Pop! is a pop super-star showcase that includes Japanese sensation Takashi Murakami as well as Pop pioneer Andy Warhol. The exhibition also includes Cake & Neave, and Static.

By presenting a selection of Pop artists, in such an engaging way, the exhibition looks at Pop Art from its origins to its present-day relevance; and this helps one to understand that it remains significant as mass production continues to rule our lives.

The art movement that started in the 1950s, has tak-en on a new meaning with a resurgence that spans from South America to Korea. In the 21st century, Pop Art has perhaps an even greater relevance.

POP! POP!

16.06.11 – 21.07.11Collectors Contemporarywww.collectors.com.sgSingapore

An open-air sculptural installation by leading artist P. Gnana entitled Holy Audience, is being presented at the Sculpture Society Singapore’s 10th anniver-say exhibition, ‘Site-Specific Works – Sculpture in the Park’ at Fort Canning Park. The SSS has cre-ated a strong affinity with the environment and its AIR programme showcases a strong connection between art and environmental issues.

The event encourages a creative exploration of space. Some of the artists have also managed to make use of the space of Fort Canning Park.

This exhibition will showcase an eclectic and di-verse collection of work that presents such ideas in a variety of ways. It is a project space open to contingency rather than a traditional gallery exhibi-tion that emphasizes the surroundings as much as it does the art objects.

SITE SPECIFIC WORKS- SCULPTURE IN THE PARK

11.06.11 – 11.09.11SS Pavilion and Fort Canning Park (Gnani Arts)www.gnaniarts.com/new/Singapore

art wire

ORIANO GALLONI SILENT SOUL

17.06.11 – 25.08.11Koru Contemporary Artwww.koru-hk.comHong Kong

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ART WIRE

Koru Contemporary Art is presenting internationally acclaimed Italian artist Oriano Galloni’s Hong Kong debut. The exhibition will feature a range of Galloni’s most recent sculptures and paintings. Galloni com-bines the traditional marble carving techniques of his birthplace with contemporary sculpting materi-als and abstract forms.

Continuing his exploration of the soul, Galloni incor-porates his signature renaissance-esque iconog-raphy into new, more experimental situations. His pieces The Man #2, (2006) and Silent Soul/Autun-no, (2006) depict his figures encased in aluminium and marble.

The pieces also recall words by Italian sculptor Michelangelo Buonarroti: “I saw the angel in the marble and carved until I set him free”. No longer trapped within marble but still not yet free, these works are in a perpetual state of transition and flux.

This is a major survey show of work by Chinese art-ist Ai Wei Wei to be held across both Bell Street spaces, London. The broad selection of key works from the past six years was agreed with the artist.

Ai Wei Wei consistently displays great courage in placing himself at risk to affect social change through his art. He serves as an example of free ex-pression and the power of art as a language globally.

Highlights of the 13 works in the exhibition include Coloured Vases (2010, 2009), groupings of Han Dy-nasty pots (from 200DC-220AD) covered in indus-trial paint. Ai’s continued desecration of individual vases can be seen as political comment on the or-ganised destruction of cultural and historical values that took place during the Cultural Revolution.

AI WEI WEI

13.05.11 – 16.07.11Lisson Gallerywww.lissongallery.comLondon

JULY 2011 / 11

The United Artists of Italy are staging an exhibition of portraits of some of the 20th century’s best-known artists by 22 leading Italian photographers. It is being staged at the Esoterick Collection of Modern Italian Art in London from 21 June to 4 September 2011.

The exhibition, comprising around 90 photographs of artists including De Chirico, Fontana and Mo-randi by such photographers as Mario Giacomelli, Mimmo Jodice and Gianni Berengo Gardin, tells the story of the Italian contemporary art scene from the 1960s. It makes it relevant today.

The Estorick Collection of Modern Italian Art opened in London in 1998. Its new home - a Grade II listed Georgian building - was restored with support from the Heritage Lottery Fund and contains six galleries, an art library, cafe and bookshop.

UNITED ARTISTS OF ITALY: A PROJECT BY GALLERIA MASSIMO MININI

06.07.11 – 04.09.11Esoterick Collectionwww.esoterickcollection.comLondon

The larger than life paintings in Baa Baa Black Sheep by Zak Yeo depict character driven narra-tives, drawing from the artist’s acutely personal memories. Through the jovial referencing of comic strips and inspired by traditional Chinese Ink paint-ings, poster art, and western art history, Zak en-gages the viewer with his observations of the world as a strange contradictory place.

The exhibition offers different perspectives at once. The expected result is the kind of creative ambiva-lence is confusion but the exhibition proves that contradictions can co-exist, in a humorous harmo-ny that makes the world an interesting place.

This exhibition might make you understand the wonders of diversity. It will at least make you realise that contradictions do not always entail conflict.

BAA BAA BLACK SHEEP

13.07.11 – 29.07.11Chan Hampe Gallerieswww.chanhampegalleries.comSingapore

ONCE UPON A TIME

16.04.11- 31.07.11Contemporary by Angela Liwww.cbal.com.hkHong Kong

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ART WIRE

Contemporary by Angela Li is proud to present “Once Upon a Time…”, a photography and video exhibition of works by six Chinese Contemporary artists. These lens-based artists explore the notion of “truth” in our daily encounters by way of using different styles of photography and video.

Perhaps the title of this exhibition might hint at be-ing “nosy”. In describing his perceptions of creativ-ity, artist Liu Zheng said, “I have come to feel that reality is the greatest impediment to my creations.”

We are all audiences in this era, and for audiences like ourselves, our everyday experiences are truths. But truths are either dreary, sapping or saddening. Nosiness has become a method for relieving pres-sure. These stories seem to no longer bear resem-blance to the original events.

We are taught from childhood that it is honorable to fight fair, be it in games, sports, love or business. But life is not fair. Honour often goes out the win-dow in the daily grind to make it. Advantage and advancement over others. In the end, we seek ad-vancement and advantage over others.

Another consequence of rapid change is the con-stant challenge on one’s sense of self. To define who we are is a universal human need, but with the benchmarks constantly changing and shifting, we’re left a little off-kilter.

In this much anticipated third solo exhibition in Hong Kong, Yang Shewei documents these internal struggles in exquisite ink, colour and rice paper cre-ations. Yang’s works have even taken up a surreal quality, and it has retained the expressive quality which is his trademark.

WHO FIGHTS FAIR?

17.06.11 – 12.07.11Karin Weber Gallerywww.karinwebergallery.comHong Kong

JULY 2011 / 13

MAD Museum of Art & Design is proud to present the Singapore debut of Korean artist Lee Kiyoung in a special limited-run exhibition, July 16th – Aug 16th. The artist’s striking centrifugal compositions are com-pelling on an abstract, formal level, yet they ultimately derive from profound understanding of nature. These black & white images – suggesting flowers, star-bursts and other organic forms – have a contempo-rary graphic energy, while the nuances of his hand-finished surfaces are extraordinarily delicate.

Lee Kiyoung’s meditative, labor-intensive process is crucial to his idea of art making. He uses traditional materials, Korean paper and Chinese ink, but sub-jects them to his own innovative method.

For Lee Kiyoung, nature teaches him a sense of time. Learning to perceive the incessant passing of time is thoroughly different form becoming con-scious of the nervous tick-tock of the clock. It is more like gaining a sense of the time that controls the cycle of life.

BLOOM

16.07.11 – 16.08.11MAD Museum of Art and Designwww.madmad.com.sgSingapore

The Alan Cristea Gallery is staging a major retro-spective of Julian Opie’s editions from 9 June to 9 July to coincide with the publication of an edition Catalogue Raisonné. Julian Opie’s highly distinctive depictions of the modern world are created in a va-riety of media.

This exhibition will present the most innovative and exciting editions that Opie has produced. It will chart the development of his work from the early very reductive landscapes and portraits, to silhou-ettes, animations, lenticulars and LED animations.

Opie has always strived to break down what he believes to be the illogical barriers set up between painting and design, and sculpture and objects – his printmaking and production of editions play a central role in this philosophy with a wide range influences.

JULIAN OPIE EDITIONS RETROSPECTIVE

9.06.11 – 09.07.11The Alan Cristea Gallerywww.alancristea.comLondon

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Run by Swiss art dealer Frederic De Senarclens, Art Plural Gallery will showcase works by Pablo Picas-so, Marc Quinn, Barry Flanagan, and Julian Schna-bel to name a few. The exhibition Avant Premier is its inaugural event. “Singapore will become the new destination for art collectors in South East Asia and Art Plural Gallery will certainly contribute to Singapore’s flourishing cultural life,” says Frederic De Senarclens. “ This in-novative space will be dedicated to solo and group exhibitions, installations and public art projects.

The gallery will also have an interesting focus on Design and solo pieces by internationally ac-claimed artists such as Ron Arad, Thierry Dreyfus, Karim Rashid and Johanna Grawunder. Art Plural Gallery is about to bring a new experience to the gallery world.

AVANT PREMIER

03.06.11 – 03.09.11Art Plural Gallerywww.artpluralgallery.comSingapore

An exhibition organised by the Asian Civilisa-tions Museum, Singapore, in partnership with the Shaanxi Provincial Cultural Relics Bureau and the Shaanxi Cultural Heritage Promotion Centre, China showcases thousands of terracotta warriors, bur-ied for over 2,000 years and the Emperor Qin Shi-huang’s imperial legacy.

It shows the fundamental influence of the First Em-peror and his dynasty. It offers the chance to marvel at the First Emperor’s impressive burial complex and his mighty terracotta army.

The terracotta army discovery is considered one of the biggest archaeological events of the twentieth century. Recapture the mystery of the warriors – how they were discovered, why they were created and what they represented.

EXHIBITION TERRACOTTA WARRIORS: THE FIRST EMPEROR AND HIS LEGACY

24 .06.11 – 16.10.11Special Exhibitions Gallery, Asian Civilisations Museumwww.acm.org.sgSingapore

ART WIRE

JULY 2011 / 15

LA L&M Arts, Los Angeles is presenting recent work by Barbara Kruger. This is the artist’s first exhibi-tion in her hometown since her solo presentation at the Museum of Contemporary Art, Los Angeles in 1999. The East Gallery will feature the multi-channel video installation The Globe Shrinks, 2010.

This work continues Kruger’s engagement with the kindness and brutality of the everyday, the collision of declaration and doubt, the duet of pictures and words, the resonance of direct address, and the un-spoken in every conversation.

In the West Gallery, the artist will create a room “wrap” that visualizes and spacializes her ideas around money, power and desire. On the exterior of the gallery, Kruger will also create a projection us-ing two recent works, You Want it and In Violence, combining images and text that address wanting and needing, winning and losing.

BARBARA KRUGER

14.05.11- 09.07.11L&M Gallerywww.lmgallery.comUnited States (LA)

With “They Don’t Know Either”, Christian Lethert Gallery is presenting Nelleke Beltjens’ second solo exhibition. Since her first show “Fragments of the Parts” (2009), the artist has been consistently de-veloping her unusual and idiosyncratic approach to drawing.

Added to the abundance of drawing information in the new works of the “CLUSTER (colour)” series is a highly complicated system of cuts in the paper, perceptible only from up close. They stem from the artist’s cutting out individual segments from the drawing paper.

Another feature of the latest drawings by Nelleke Beltjens is the use of ink pens in assorted colours. Whereas the earlier drawings were mostly rendered in a single colour in black, blue, or green, lately the artist has been using combinations of six and more.

NELLEKE BELTJENS: THEY DON’T KNOW EITHER

04.06.11– 30.07.2011Galerie Christian Lethertwww.christianlethert.comGermany

Fabric of Life

HWANG SAE JIN:

IN THE FRAME

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orean artist Hwang Sae Jin’s visual feast seems hard to digest at first.

Her tightly bunched flowers, clothes and cloth fragments ask to be disentangled, but in the confusion her statement becomes clear. “When people see how my work fills the canvas, it has a dizzying effect,” said Hwang. “It is like a festival of flowers and people might wonder what it is trying to say. There are contrasts in the images. How-ever, the ‘flower’ is a universal symbol of beauty and a floral cloth is effectively an artificial flower derived from a natural element. This inevitably sub-jective interpretation of beauty is everywhere in the commer-cial world. And it is for this reason that I use cloth.” Hwang’s domestic land-scapes seem familiar but they are uniquely feminine and mysterious. Flowers reach through piles of clothing, like greenery breaking through concrete, highlight-ing the differences between

natural and artificial beauty. And there is a twist when we discover that the flowers are not real. Hwang points to a meandering search for cultural identity, one that echoes a crisis of the modern glo-balised world. “My work has Korean sentiments,” said Hwang. “I feel comfortable with the images and I want them to show beauty as well as history. Most of the fabric I use is imported from overseas and when the exotic ingredients are combined with the Korean aspects, there’s a subtle sense of distance with the viewer.” Hwang’s collages are an explosion of fashion and manufactured goods. Such do-mestic scenes make wardrobes into microcosms of consumer desires. And despite the busy overflow, there’s an uncer-tainty with an emptiness that product lines cannot fill. “In such floral imagery we can see the artifice of modern civilisation,” said Hwang. “It is losing the scent of real

beauty in a paradoxical way. I think artists need to empa-thise with different aspects of the modern world. My work expresses the emptiness of excessive consumer desires. My earlier works consisted of interiors with screens and balconies and gardens. Rooms were decorated with carpets and cushions, and floral deco-rations added an exotic colour. Following that, floral designs defined the series. There are closets packed with clothes, shoes, and handbags. In recent works the viewers are like passers-by trying to substitute modern desires with what they can see in shop windows.

k In such floral

imagery, we can see the artifice of modern

civilization

“

”

IN THE FRAME | Hwang Sae Jin

Text: Remo Notarianni

JULY 2011 / 19

Previous page: Floral Vertigo III Oil on canvas with fabric 145.5 X 112.1cm 2008

This page: Untitled Acrylic on canvas with fabric 130 X 97cm 2008

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JULY 2011 / 21

“

”

My work expresses the

emptiness of excessive

consumer desires

The Splendid Outing II Acrylic on Canvas with Fabric 130.3 X 97cm 2008

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The Devil Wears Flowers Acrylic on canvas with fabric.

Hwang Sae Jin was born in Korea

in 1982. She graduated with a

BFA in Painting from Ewha Wom-

ans University, Seoul. She has

held countless solo and group

exhibitions and won awards

such as 2009 9th Songeun Art

Award, Songeun Arts & Cultural

Foundation.

Hwang Sae Jin is represented by Sunjin Galleries. Contact: 6738 2317. Email: [email protected]

JULY 2011 / 23

They are like the women in Shin Yoon Bok’s ‘Beauty Lady’ or Sandro Botticelli’s ‘Birth of Venus’. If misunder-stood, they can be made into motifs of a lustful pursuit and these forge the very idea of a woman’s depth.“ Hwang includes real consumer items in the art piece. And there is a decep-tion in this that highlights her statement about beauty. The collage invokes a feeling that in itself mimics the ambiguity of the consumer world. There is irony in that it still achieves fine art using the materials it is commenting on. “From a distance my work looks like a painting,” said Hwang, “but almost 90 percent of it is a collage using pat-terned cloth. I transfer a sketch to tracing paper, after arrang-ing the collage part and adding cloth to it and then finishing it with the acrylic painting to support details of shades. I add realism to the lines by using as many as 300 pieces of clothing for the transition.

I specifically let the audi-ence imagine the sympathy of reality. “Material of desires sourced from advertisers and magazines, where current fash-ion designers, or new products or find the item I want to own, I scrap it and use it for my work. So my room always filled with about 200 copies of the fashion magazines issued in about five years.” This search for truth in beauty is at the heart of Hwang’s work and her ques-tions are related to the very nature of art itself. There is an exploration for new ideas and aesthetics but the search has underscored the need to un-derstand beauty before we let our desires succumb to it. And after seeing this, we might begin to notice the threads that connect it with truth. “My belief is that artists should not be limited to ideas or techniques, and they should be able to show this through their work,” said Hwang. “These days, the work itself, often only emphasises ideas or

intentions, so we often cannot understand it when we see it without an explanation. We have to find our own identity with originality rather than by following a style and fashion, and we can always convey our own friendly story to the audience. That is a more real picture of beauty in its sincer-ity and this applies to the beauty of a nation, a person and a natural object.“

Hwang Sae Jin | IN THE FRAME

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On 27 May 2011, Singapo-rean artist Jason Lim’s solo exhibition Duet with Still/Life opened at Galeria Labirynt in Lublin, Poland, where it ran until 12 June. In the quaint gallery space of a 400-year-old building in the heart of Lublin’s old town, Lim’s dual artistic practice, sculpture and performance art, combined harmoniously. The exhibition presented a documentation of

Text and images: Daniela Beltrani

Jason Lim

Duet and Still/Life in Poland

selected enactments of Duet, a previous performance, and a reincarnation of Still/Life, a sculptural installation of performative origin. During the installation five black mannequin heads emerged from the walls only to be hidden by colourful threads, relics in performance art jargon, from Lim’s past versions of Duet. The threads were complemented by a video and four photos documenting

the performance that created each corresponding relic. All photos captured the end of the performance, when the artist’s own head was covered by the very same thread that he had previously unspooled. Lim gave the relics of his earlier performances a continuity in the new setting, whilst enriching them with a new performance. In fact, on the opening night, in the cosy basement

FEATURE

JULY 2011 / 25

of the gallery, Lim graced a curious audience with the same action, carried out with a golden thread, which befitted the colours of the space. He unspooled this in a corner on a pile of raw clay on the cotto floor. In the artist’s intention Duet represents a collabora-tion with the material for the transfer of his own energy to the object over which the thread is unspooled. In this ar-rangement, Lim interconnects with different ends of time. The repetition of the action rendered tangible the notion of time in its three forms: the present was slowed down so as to be captured through consciousness; the past was embodied in the consumed thread and the future in the expectations of the gesture. Moving onto Still/Life, the original idea behind it was tested during the exhibition The Air Conditioned Reces-sion: A Singapore Survey, organised by Valentine Willie Fine Art, in Singapore in August 2009: three large unfired vessels were placed in individual tanks and with the added water they deteriorated. The idea behind Still/Life is an exploration which ends with nothing but raw material, a sort of reverse artwork of a performative nature or perhaps a challenge to the traditional idea of artwork. The artist’s deus ex

machina, namely the addition of water during the open-ing in front of an audience, oxymoronically gave life to an assemblage of pots, whilst ambitiously expanding the ‘still life’ genre, typical of painting, to sculpture. Lim repeated this during the Singapore Art Exhibition at the Singapore Art Museum, in August 2009, and the 1st Ja-karta Contemporary Ceramics Biennale, in December 2009. The fourth incarnation of Still/Life took place in Poland, but explored a different modality from that of previous ones. The tank had a dramatic vertical elevation, more apt to containing snake-like works inspired by the grass of the Polish fields, than pots. Dur-ing the opening, after the Duet performance, the artist added water and initiated a similar

process to that of the previous Still/Life. But in the densely packed and confined space, the concentrated waterfall affected the clay quickly enough to reduce its dramatic effect. For those present at the opening, perhaps the experience un-folded slow enough to absorb them, but subsequent visitors were faced with a desolate landscape, where movement was infinitesimally small and the time/space presence broken down to unsustainably slow levels. The day after the exhibition closed, during the taking down phase, the tank was emptied and its contents discarded unceremoniously: a harsh reminder that art is after all intangible experience. It is not embodied in a physical object but lives on in the memory of those who experience it.

Opposite page: Jason in front of the relic of Duet, Sweden 2010

This page (left and right): Duet, Sweden, 2010

Still/Life, Poland, 2011

Andrew Ng (left) and Aaron Palermo (right) in Brobots (2009)

Andrew Ng in The Pizza Monk (2010)

Lawrence Gray

STORY

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hen Hong Kong screen legend Bruce Lee kicked

together cinematic classics in the seventies, some saw it as a battle for better dubbing, bet-ter acting and perhaps better production standards. Yet, the raw charm of films like Fists of Fury (1971) became a celluloid testament to the city’s can-do clout. They still managed to make an impression globally without

W

ENTERText: Remo Notarianni

Simon Yin

JULY 2011 / 27

Hollywood budgets. And as the industry looks for ways to ‘kick-ass’ in the 21st century, the art of film-making has won independence regardless. If Lee had worked with the DSLRs of today’s digital revolution, he might have got a million web hits for every kung fu kick. Hong Kong-based screen-writer Lawrence Gray has worked in UK prime time television, the Hong Kong

film industry, and Singaporean TV. While engaged by the digital renaissance, Gray be-moans the lack of government support in Hong Kong, which he says was an accomplice in the death of its ‘golden age’ of filmmaking. “The market simply disap-peared for the Hong Kong movie in its heyday and its re-liance on basic recycled plots with lots of stunts and fight scenes,” said Gray. “By the

AUTEURSthe

Aaron Palermo in Apartment Lullaby (2007)

Simon Yin’s Supercapitalist (2011)

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“

”

STORY | Enter the Auteurs

end of the seventies things had changed considerably. In the eighties, only the better Hong Kong films made money, but the investment required for them increased, and you had the rapid decline of the nine-ties and the complete collapse by the turn of the century. Those who had talent left for the US, but the industry did learn that you have to have training programmes of some sort in order to compete in a very competitive market. And the local industry re-quires a government that will nurture it.” Gray arrived in Hong Kong in 1989 to work on an episode of a popular UK television series. He founded the Hong Kong Writer’s Circle, and has since made the city a creative base to pitch stories locally and abroad; and he carved out a creative niche while writ-ing film scripts, such as the award-winning Fat English-man (2006) that still awaits production. In recent years, he has made a personal leap from writer to producer and director. “It was when I could afford a professional camera that I

realised there was an opportu-nity,” said Gray whose scripts have seen a ‘pixel’ day with festival shorts such as Joggers (2009) and Gong Neui (2009). Gray also collaborated on shorts like Brobots (2009) and local features such as Aaron Palermo’s Game On (2011). He has benefited from tech-nology that has empowered writers who are tired of seeing rejected scripts wait lamenta-bly on hard drives. But it is not so much about whether Hong Kong has a film industry but if, regard-less of English or Cantonese, it can continue to draw on an independent pool of talent capable of nurturing a Bruce Lee or a Wong Kar Wai. This question is for the city more than the resources and it is one that almost makes the issue of government support irrelevant. “There absolutely has to be a spirit of independence in Hong Kong, as the profession-al industry has moved across the border into China,” said Hong Kong-based producer and director Bey Logan. “I think, in terms of the digital revolution hitting the

streets of Hong Kong, the best is yet to come. We haven’t yet seen any young professional filmmakers emerge (a Hong Kong Sam Raimi or Robert Rodriguez) using the medium to make a commercial feature that wouldn’t otherwise be made. Even ‘Gallants’, which won Best Film at the Hong Kong Film Awards, was actu-ally shot on film! I think HD has replaced film school, in that young people can actually go out onto the streets and learn ‘on the job’. None of them have actually graduated yet though!” Hong Kong-based photog-rapher turned cinematographer Evangelo Costadimas states that his career has gained momentum in recent years. He acknowledges an ethos that he believes made a difference when affordable film technol-

The only real thing that sets a movie apart from the rest,

now, is the storytelling -

Simon Yin

Cantonese Opera (2010) Forget me not (2009)

Evangelo Costadimas’ filmmaking career took off in Hong Kong and he worked on local productions.

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ogy entered the market. “Hong Kong independent filmmakers never cease to amaze me,” said Costadimas. “I find that a lot of camarade-rie exists. They are able to pull resources together and create films even without a produc-tion budget. There is undoubt-edly a revolution in filmmak-ing afoot. Largely because of the availability of relatively inexpensive DSLR cameras that are now able to capture video in High Definition 1080 quality. Couple that with the quality of very good lenses that many folks already had in their camera bags and you can achieve incredibly good video quality. It is also getting far easier to edit video and to the produce music and sound.” In 2009, Costadimas’ photographs caught the eye of a local filmmaker and he was invited to work on an independent film. He sees the introduction of ‘filmic’ digital cameras such as the Canon EOS 5D MKII and the Red One as monumental and, if in-deed Hong Kong will turn into a cost-effective ready-made film set, budget and accessibil-

ity will improve considerably. Costadimas worked on the films Forget Me Not (2009) and Cantonese Opera (2010). “The move from film to digital has lowered barri-ers and, combined with a resurgence of independent filmmaking, this has eased the difficulty for actors to compile content for their reels,” said Chinese-American actor An-drew Ng who appeared in local production Supercapitalist (2011) and Bey Logan’s Snow-blade (2011). “Some things are getting made that while crea-tive, may not have a market. None the less, the number of productions has grown.” Ng, however, questions where the market really is for independent Hong Kong productions. He states that niche market success could be the rule rather than the excep-tion for the kind of films being made. Recent developments in the industry, while making parts of the production process easier, have emphasised cer-tain roles. “The only real thing that separates a movie apart from the rest, now, is the storytell-

ing,” said Hong Kong director Simon Yin who made Super-capitalist. “I think digital film-making can go as far as you want to take it. It’s about the digital filmmaking industry as a whole, digital distribution and digital marketing. The whole game has changed.” But Gray stresses that budget remains an important factor and the current technol-ogy is not enough to make an industry-wide leap. It is still about screenwriters making their own short films, while waiting for the bigger produc-tion deals. “Writing is the bedrock of filmmaking,” said Gray. “I think for some, digital can be a stepping stone to big budget professional productions but for most it is an indus-try in and for itself. If you want to be a writer-director, and I think that is the only thing worth being nowadays because the opportunities for making a living purely as a screenwriter are very limited at the best of times, you can train yourself by buying a camcorder and making small films.”

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ThirteenthSign

The

GLIMPSE

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and masks of godpart 1

CREATED BY SNAKEBITE

CORTEZ AND JOSHUA

ORTEGA WITH DIGGER

T. MESCH

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The Cosmic Serpent Conjurer, Olucius. The

Thirteenth Sign has been a reoccurring mystery star system in all cultures. In recent times it was said to change our personal zodiacs. The Grecians called it the web weaver, the designer of intent in the universe. Recently ancient text has been discovered, dating back before the Sumerians, outlining the purpose of The Thirteenth Sign. A cycle sign, said by the Maya to return in our sites when it was time to re-connect with spirit during the end of the long count, sug-gested by José Argüelles. A time where we become the gods or heroes we have al-ways been, but have forgotten because of our long history of social constructs and para-digms disconnecting us from the source’s truth. Olucius, the Hero Maker, was said to be born from the consciousness of the universe

to balance itself. Where there is darkness you will find light. Where men do evil things, there are heroes to counter their affects on each of the worlds they live in. Some theorise the thirteenth sign is a planet with widespread orbital patterns said to cross event horizons with multiple solar systems. Planting hero seeds through the cosmos. Inspiring people to wear a different face, or mask. To assist them in the journey of self discovery and the choices individuals make that affect the whole. Showing us the paradox of the infinite choice and battle of what the Maya called, Mitoté , the influence of the thousand voices.

Raising the questions within our DNA. Who am I? Why am I here? Who do I decide to be?What mask do I wear?

GLIMPSE | The Thirteenth Sign and masks of god

Mask and story: Snakebite Cortez

(Director Petra Gallerie)

www.petragallerie.com

THE THIRTEENTH

SIGN

INDIAN SWAMP THING

Story: Joshua Ortega Mask: Brock Potter

http://brockpotter.com

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I t began with a YouTube clip on the Day of the

Dead. The video was only up there for maybe an hour be-fore it was pulled. It was that brutal. But people saw it. The right people. Or so the murderers thought. It was a drug war torture video, sent to a rival gang, which graphically showed a lead member of the rival gang being butchered, maimed, and finally murdered. It was supposed to be a warning to the rival gang, but all it did was provoke an all out war, a deathfest of nightmarish proportions. Innocents in a Dio de los

Muertos parade were caught in the crossfire… including the brother of the man who was murdered. As he died, he saw images of his brother’s death, like a YouTube video streamed straight to his head. Something awoke seconds later. It was him, but no longer him. He was now something more. A force of nature like no other…the embodiment of death itself, not out for revenge or glory–simply to kill.

Distribuidor de la Muerte.The Death Dealer.The drug game will never be the same.

He grew up in the slums outside of the city,

a red and white mangrove swamp serving as the tangled barrier between two worlds. There were legends about that swamp. People said that the swamp was alive… not just alive like an ecosystem, but a living, sentient swamp. “It looks into you,” is what one local was quoted as saying. They also said that parts of the swamp could take the form of a man–but only when it was angry. On December 9, 2010, the swamp became angry. Toxic waste from the city was spilled into the swamp,

poisoning the ecosystem and countless residents in the slums. People grew sick. People died. But not the swamp. It grew stronger. Reports of a swamp man, or “Swamp Thing,” began circulating around the city. Pieces of the swamp began growing out of buildings, roads, sidewalks, walls, cars, everything… Including people. The city is gone now. Only the swamp remains. Some say the Swamp Thing has moved to other cities, so look around some-time. You may find the Swamp Thing growing out of nearly anything…

MEXICAN DEATH

DEALERStory: Joshua Ortega

Mask: Gustavo “Django” Vazquez

http://uncle-gus.deviantart.com/

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The original Human Torch was first sighted at the

Fudoin Temple in Hiroshima, shortly after the bombing by Allied Western forces during World War II. He emerged from the temple, glowing like unearthly fire, and was sighted by several survivors of the attack. Rumour has it that he was able to help those with radiation sickness by absorbing the radiation into his own body (though there is no scientific proof that this did occur, just first-hand accounts of survivors and witnesses). The “Human Torch,” as he was called, was active in the area for roughly one week, then his glow suddenly went out, and soon after, he died of radiation poisoning. His real name is still unknown to this day. It was a strange coin-cidence to say the least,

especially considering that the temple was one of the very few structures that survived the nuclear holocaust in 1945, and there are ancient records that indicate “a burning man” emerging from the temple in the 14th century...a “fire samurai” who defended the temple from invaders, and disappeared shortly thereafter. Recently, following the devastating Sendai quake and tsunami, there have been reports of a new “Human Torch” emerging from the temple yet again. Once again shrouded in mystery, this new Human Torch is said to be a survivor of a reactor melt-down in Fukushima. His final wish was to visit the Fudoin Temple, in honor of Japan’s fallen soldiers. He did. And he emerged as some-thing else entirely.

JAPANESE HUMAN TORCH

Story: Joshua Ortega Mask: Digger T. Mesch

http://digdeepentertainment.com

MAORI SPIDER-MAN

Story: Joshua Ortega Mask: Sameerha

Hathaway www.petragallerie.com

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The Thirteenth Sign and masks of god | GLIMPSE

The child was born Tapu Katipo, a predestined name to say the least. Missionaries roughly translated the name as “Sacred (or taboo) Spider,” though whether they translated the name properly is still hotly contested to this day. Regardless, there once ex-isted a child, a normal child by all accounts, a well-liked child who was said to play well with others, both those of his tribe as well as the missionaries that increasingly were found throught the island nation. Tapu was a good student, “quite pious” (according to missionary records), and was known to take a stand against

things he viewed were not just, and was not afraid to take a stand. Even if that meant a flogging at the hands of the missionaries. One missionary, whose name has been lost to time, flogged him quite brutally on his 13th birthday, “triggering” something within young Tapu that certainly seemed predes-tined given his name. It was reported that he saw a spider crawl onto his arm, and when the final blow was given to him, the spider was crushed, biting Tapu in the process. The next day, Tapu was sighted climbing the side of a makeshift church. The next, he was swinging from a web-like substance above the branches of a Tatoki tree. The following week, the foresaid flogger was found floating in a nearby bay… Covered in what could only be described as spider webs. The missionaries soon left the area, the floggings ceased, and this “Spider-Man,” as he came to be known, is still revered to this day for perserv-ing something that could have been lost to the ephemeral web of time…

The Thirteenth Sign: masks of god’ and’ Hollywood Retro’ were two shows that ran in fast-paced harmoni-ous tandem at LA’s Petra Gallerie. An experimental hybrid art exhibit that blended high fashion, fine art and the spirit of the Los Angeles streets showcased famous local artists and performers.Talent ran the gamut from famous painters, special FX artists, film production designers, make-up artists, toy designers and more. The stories and the masks took all present into a creative cosmos with a mystical message.

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ART LANDS

Indonesia

LIGHT of the SHADOWS

Text: Remo Notarianni Images: Daniela Beltrani, Heri Dono

LIGHT of the SHADOWS

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In the story of Indonesia’s Wayang, light dances with shadow, tradition with change, and compromise with controversy. And as contemporary art flourishes, the shadows of its puppet theatre continue to charm the land.

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ART LANDS | Indonesia

The varied forms that Indonesian Wayang has taken are testament

to its survival. Although its origins are uncertain, a mar-riage of indigenous storytell-ing and puppet theatre was said to have taken place at the time Hinduism reached Indonesia around 1,600 years ago. And many performances of Wayang have since been adaptations of Indian classics like the Mahabharata as well as local stories. Javanese Wayang has been

highly influential, and the word Wayang is Javanese for ‘shadow’. However, the art form has its own regional versions, and is a part of the culture of the islands of Bali, Java, Sumatra, and Borneo. Even as contemporary art explores new ideas, the nation has continued to revere Way-ang; the word itself is often used just to mean ‘theatre’. “Most Indonesians are fa-miliar with the stories of Way-ang,” said Edwin Rahardjo, founder of Edwin’s Gallery in Indonesia. “However, the

Artwork by Heri Dono

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younger generation does not really explore it anymore, ex-cept maybe people from rural areas. Although Wayang is not widely used as a theme for contemporary art nowadays, it is a heritage that we cherish.”

Shedding new lightWayang became a national art form as history shaped the nation, and it appears to have survived by embracing change rather than defending tradi-tion. As it became a medium for the religious stories of Hinduism, it found a popular role, melding art with religion and society. The Muslim presence in Indonesia modified Wayang significantly, creating Wayang Kulit (Wayang leather). The art form made another com-promise that helped it histori-cally adapt as stories became told with the shadow rather than with the puppet itself. Figures such as the Wayang Golek (rod puppets), found in

Northern Java or Sunda, had too much of a human form for Islamic leaders in Indonesia, as the religion forbade the depic-tion of humans, especially gods, in art. Wayang puppeteers thus told stories with the shadows of the figures against candles, but the puppets themselves remained appreciated; so thin and flat Wayang Kulit puppets were created. They were made to look even less god-like and Muslim Indonesia came to ac-cept the art form. “Actually in the tradition of Wayang there are no bounda-ries with the art discipline in the Wayang performance,“ said contemporary Indonesian

artist Heri Dono, whose art education included an appren-ticeship with traditional pup-pet master Sukasman. “The different arts work together and they are connected by a philosophy.” Dono points to a spectrum of Wayang arts including the music of the Javanese Gamelan (a musical instru-ment), Bedoyo (dance), Pendopo (architecture), Serat Centini (literature), Ketoprak (theatre), and Batik (textiles). These make up a universe that the puppets communicate as the Dalang (storyteller) helps bring it into the human world.

The puppet mastersThe reach of Wayang pup-petry through history and to different sectors of society owes much to the craft of the Dalang. One might be tempted to liken the puppet master and storyteller to Europe’s fairground puppet artists, but the shamanic ceremony is

The different arts work together

and they are connected by a

philosophy

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trance-like as the Dalang, who is often also a musician, might use a screen for his animated shadows. The way he trans-fixes an audience with adept movements of the figures is more magical than any sleight of hand. And unlike most theatre traditions, the stories and the animated puppets have enchanted a whole nation and been an agent for education and ideas. Arguably the most popular traditional story to be narrated in Wayang kulit is a Javanese version of the Mahabharata, which narrates a battle be-tween the clans of the Kura-was and the Pandawas. Four peculiar characters under the collective name of Punokawan

are similar to the clowns of European theatre tradition but do more than entertain. Semar in particular is the divine protector of the island of Java and despite his unappealing appearance and rude antics, is a dispenser of wisdom, as Javanese ethics emphasise a negotiation of ‘righteousness’ between opposite positions through rasa (sensibility) and

akal budi (prudence) instead of absolute truths. It’s unsurprising that former Indonesian president Suharto hijacked Wayang to promote his political pro-grammes and he was often satirically likened to Semar. But Dono links the art to the practices of the nation’s indigenous cultural roots and for that fact the timeless spirit of art itself. “In Indonesia’s animist religion, they used pup-pet performances to call up their ancestors through a shaman,“said Dono, “ In 1984 I did some research in my art school about cartoon anima-tion, and about the visual language of European modern

“

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Dono links the art to

the nation’s indigenous

cultural roots and the

timeless spirit of art itself

Henri Dono’s Wayang Glocal 1 and 2

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Indonesia | ART LANDS

painters like Miro, Kandinsky, Picasso, Klee and Matisse. At the same time I studied Indo-nesian folklore and tradition, like Wayang. When I studied about cartoons I read from the history of cinematography that Wayang kulit (shadow pup-pets) is considered an early form of animation. In animist religions (like Java’s Kejawen) people believe that everything has a soul. Artists believe that objects in the world of anima-tion have a soul, — a chair can run, one drop of water can smile.”

Nation’s new chapterDono has referenced Wayang to make political statements

in his contemporary artwork and he has revitalised it by connecting it with the con-temporary. In a sense, artists such as Dono have lessened the gap between tradition and modernity, helping it to adapt to historical change yet again. “Heri Dono uses the visu-als of Wayang in his works, and applies the tales in his own way,” said Rahardjo. “Generally, we try to apply the ‘modern version’ of Wayang in various art forms, in order for it to fit the culture of today.” Wayang’s embrace of the new Indonesia could enrich the work of contemporary artists, by helping them to ex-press a fresh perspective, one

that might culturally transfix a younger generation. And it owes much to the value Indo-nesia places on interweaving art into society, while keeping it alive as the nation enters a new era. “There is a real excitement in Indonesia at the moment,” said Australian art critic John Mcdonald. “The art that ap-pears at the art fairs and big international survey shows is extremely sophisticated and original, with an infectious energy. It’s easy to imagine that Indonesia is in line to be the next big thing.”

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MARKET VOICES: France

Text: Remo Notarianni Images: Christian Ogier

CONNOISSEUR’S PASSION FOR ART PAYS OFF

Christian Ogier with a Picasso from the Dora Maar series.

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French gallery owner Chris-tian Ogier said he enjoyed great success at the 2011 Hong Kong International Art Fair. But after decades in the art business, Ogier can draw on experience in an industry that demands more than the desire to make a profit. “If the market is only driven by money it will crum-ble,” said Ogier, whose Paris-based gallery has showcased some of the biggest names in the Asian art world. He co-operated with Hong Kong’s Anna Ning Fine Art at Art HK (11). “I belong to a genera-tion that saw the rise and fall of the Japanese art market which was driven mostly by financial and speculative trading and which disap-peared. What is needed in the current art wave is a bal-anced rise. Of course, money

is an important fuel, but connoisseurship and passion are important for the survival of the industry.” It was Ogier’s love of the actual artwork that prompted an uncertain business move 30 years ago and this per-sonal passion steered him away from a life in politics. Ogier entered the market in 1981, while working as a diplomat for the French Embassy in Port-Au-Prince, Haiti. He was inspired by a flourishing art scene in the nation that followed the downfall of a dictatorship. “I was in a totally differ-ent world there as a young diplomat, and there was a very vibrant art community which was creating a fash-ionable kind of naïve art,” said Ogier, who reveals that his love of art is also driven

by a fascination for different cultures.” I discovered the world of artists and dealers and decided it was more interesting than mine. I saw the limits of diplomatic work. To me the art world looked like it had lasting value.” To begin with, Ogier’s career in the art market was inspired by the connection between art, culture and people; and with a fascina-tion for Asia, in 1983, he focused on Singapore and Japan. Artists in Singapore

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I saw the limits of

diplomatic work. To me

the art world looked like it

had lasting value

Zeng Fan Zhi 1999 Mask Serie no 8, Oil on canvasZao Wu Ki, 1954: Oil on canvas.

MARKET VOICES: France

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at that time were not well represented internationally and Tokyo was on the cusp of a great wave in Japanese art. And his enthusiasm helped him ride out the storms and learn the intricacies of a business not seen as immedi-ately rewarding. “My initial stint in the Asian art market lasted a short time because the dollar shot up and the price of once affordable artwork became expensive in France,” said Ogier. “At that point, I focused on French art for a while, but I discovered a brand new world to which I en-

tered and am still there now.” When the Japanese art boom ended in around 1990, his passion was reignited by the current wave in Asian art, which started in 1998. But he states that unlike the Euro-pean and American art wave of the sixties or the Japanese one of the eighties, there is still a great deal of mys-tery surrounding the current boom, which has much to do with China’s preeminence economically and its global significance. “There is a lot of action today in the art market and

it’s centered in Asia, where a lot of my business is,” said Ogier. “It is largely driven by the perspective of the rise of China. This perspective brings a lot of collectors from differ-ent countries to speculate in the nation’s art market. So, it is still a very speculative market and the first stage of the China boom, which was a craze, is over to a certain extent. What there is now is a more selec-tive interest in artwork that is suitable for investment.” Ogier’s Sepia Galerie has presented artwork from mainland Chinese artists such

Zao Wou Ki 1954

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as Zhang Xiaogang, as well as European masters like Picasso and Dali. He sees an aesthetic resonance in Chi-nese Cynical ‘Pop’ Realists such as Yue Minjun that puts it in a global context while adding a Chinese flavour to Pop Art itself. But he also emphasises that different sectors of the market, includ-ing the growing modern traditional art in China, are leaving an enduring mark in different ways. “What interests me as well is the Chinese view of the world and aesthetics. Chi-

nese artistic perceptions are influencing the market.” said Ogier. “It is true that when China’s Cynical Pop Realists first appeared on the global art market, they seemed to be a little derivative of the Pop movement of America and Europe. They had a ‘Chineseness’ about them which made them interesting. And now that they are joining the mainstream, they are no longer seen as Chinese artists but as global artists, which in the long run is a good thing.” The contemporary art worlds of France and China do however remain quite different in terms of maturity and perceptions, even if they meet, as all do, on the global arena. In Ogier’s movement between worlds, he has seen Chinese talent blossom in both, and cites artists such as Huang Yong Ping and Chen Zhen who have been very successful in France while not really appealing

globally or in China. Ogier is pleased to see how Chinese artists have integrated in France, to become part of its intelligent-sia. This may be a testament to the perennial embrace of places such as Paris, that offer validation to new talent, but Ogier is confident about China’s ability to understand its artists and the wider world they are a part of as its industry develops. “There is nothing as yet like the Venice Biennale, or the Pompiou Centre in China but I can bear witness to the growing sophistication of Chinese collectors and art experts,” said Ogier. “There are leading connoisseurs, in terms of curatorship, like Fei Da Wei, Hou Han Ru who have intellectual weight in the West as much as in the East but the emergence of connoisseurship takes time and involves much more than buying works of art and play-ing with them on the market.”

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”

What interests me as well is the Chinese view of the

world and aes-thetics. Chi-nese artistic perceptions

are influencing the market.

Three comrades Zhang Xiaogang. Oil on canvas, 1994

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One of Singapore’s leading galleries, Chan Hampe had a distinct presence at the fourth Hong Kong Interna-tional Art Fair in May. As one of the few Singapore galler-ies at Art HK 11, its success proved that the little ‘red dot’ could take on the world with its creative clout. Bharti Lal-wani talked to gallery owner Benjamin Hampe and artist Genevieve Chua about their impressions of the event.

MARKET VOICES: Singapore

CHAN HAMPE IN HONG KONG

TPAG: Ben, This is the second year you have participated in an art fair. As a young gallery owner, with what expec-tations did you partici-pate at Art Stage and Art HK and how different has the experience been each time?Ben: Participating in art fairs is always a great op-portunity to showcase the artists we represent and our

Text: Bharti Lalwani

gallery to a large, diverse arts-interested public. The Singaporean visual arts com-munity is seldom profiled at commercial art focused events so it is important for us to showcase the artis-tic talents that we have to an international audience. Participating in art fairs also gives us a chance to observe first-hand how the arts market is developing, both regionally and globally.

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Genevieve Chua

The Singaporean visual arts com-

munity is seldom profiled at com-mercial art fo-cused events

- Ben

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Genevieve Chua, After The Flood #21 & #22 (2010) Hand-coloured Photographs, 50 x 150cm

Genevieve Chua, Black Varieties #8 (2010) Hand-dyed photograph 60 x 90 cm

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TPAG: How did you decide to go with Genevieve Chua?Ben: Despite her relative youth, Genevieve has en-joyed a tremendous success in Singapore and is quickly asserting herself internation-ally through artist residencies absolved in Canada and Singapore as well as group exhibitions in Hong Kong and Australia. Genevieve is a pleasure to work with and the spectrum of her work, from pencil drawings to photogra-phy and video installations, is not only testament to her artistic ability but also a doc-umentation of her on-going development as an artist. She is a very suitable artist to represent Singapore at such a prestigious event.

TPAG: How did the audience respond to Chua’s works?Ben: As you mentioned ear-lier, art fairs are a great op-portunity for emerging artists like Genevieve to showcase their work to an unfamiliar

crowd. The response we got from the audience was very positive and encouraging. A major work was sold in the first hour of the vernissage. Genevieve’s meticulous attention to detail in her cyanotype series ‘Moth to a Flame’ or in the hand-painted photographs in the ‘After the Flood’ series generated a great deal of interest in her technique.

TPAG: Genevieve, as a young emerging artist (fresh from showcasing at the Singapore Biennale) how did you find the art fair? – I know you were at the Chan Hampe

booth, available to speak to the audience about your work.Genevieve: It is always nice to meet and talk to people who would like to know more about my practice. Although in fairs, it can be strange to be both artist and discuss-ing figures so. I’m glad my gallerist, Benjamin was there to readily provide information and deftly handle sales. I’m grateful that my work can adapt to different conditions – independent solo projects at non-profit spaces, the Singapore biennale, commer-cial shows, and then recently Art HK. I moved around and viewed the offerings

I moved around and viewed the offerings too quickly at the

fair but I guess HK generally makes one impulsive that way.

- Genevieve

“”

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too quickly at the fair but I guess HK generally makes one impulsive that way. It’s interesting to realise in hind-sight which works resonated really well despite the pace of the fair and this is where I am clued in on how to be a better creator.

TPAG: Ben, you par-ticipated at Art Stage Singapore early this year, do you find a difference in fair audiences between Singapore and Hong Kong?Ben: This year was the first year that Art Stage Singapore took place, as opposed to Art Hong Kong which is now in its fourth year running. To compare the two at this early stage would not be fair. Certainly attendance num-bers were very high in Hong Kong as they have ready

access to mainland China. However – although it is nice for the artist to get in front of people’s eyes - it really is about developing a collector base for the artist and the gallery. Although I will say the punters in Hong Kong obvi-ously had more experience with dealing with galleries, knowing how to ask the cor-rect questions. All in all both fairs were a great experience for us though.

TPAG. Ben, Genevieve, tell us about your future projects.Ben: Chan Hampe Galleries will be celebrating its first year anniversary in August 2011, and what a year it has been! We look forward to continuing to support and showcasing Singaporean art-ists and providing a platform for an East West cultural ex-

change. Upcoming projects include a solo exhibition by renowned Chinese/Austral-ian artist Guan Wei as well as showcasing more local artists through the on-going Fullerton Heritage Gallery program; as well Art Link in conjunction with the National Heritage Board Heritage In-dustry Incentive Programme. Definitely an exciting year ahead so stay tuned!Genevieve: A solo exhibi-tion of drawings at C-C-C Shizuoka, Japan (July 2011) where I am also taking up a residency programme. In September, I will be in Gyeo-nggi Creation Centre, Korea, working on a range of multi-media projects. No particular idea where this is headed for now, but any opportunity for experimentation is enough to excite me. Upcoming shows in Singapore include the Singapore Survey at VWFA (August 2011), Art Incubator Exhibition at Lasalle Praxis Space (Nov 2011) and BMW Young Artist Series at STPI (Nov 2011).

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“Ecclesiastical architecture is about much more than glori-fying The Lord. It’s about the people who have gone before us. And about the three-dimensional form of buildings – the fusing of shapes and motifs to form something that has integrity and function. Concurrently it’s about all the details that dovetail together to enhance that form. And St. George’s Church in Singa-pore’s Demsey Village, is a excellent example of this, as are the many other houses of worship here,” says Klaus Muller, a Berlin pastor and writer travelling through Southeast Asia in order to research a book on ecclesias-tical architecture in East Asia. Singapore is many things to many people: the Lion City, the ultimate nanny state, the late-blossoming orchid of Southeast Asian arts and culture, and a handy place to stop on the way to the An-tipodes. It is also – somewhat incongruously – a tropical town of dreaming spires,

as evidenced by the large number of traditional-looking churches. Of these, the largest and most conspicuous is the Anglican Saint Andrew’s Ca-thedral, the country’s largest Christian house of worship. This is actually the third cathedral that has existed on this site, and was designed by soldier-turned-architect Ronald MacPherson. Nearby, in Hill Street, stands the Armenian Church, holder of the title of the oldest Christian church in Singapore. It was designed by another Victorian Briton, George Drumgoole Cole-man, “Overseer of Convicts and Superintendent of Public Works”, who was the archi-tect of many of Singapore’s finest historical buildings. The city’s existing Arme-nian Church is modelled after St Gregory’s Church in Ech-miadzin, the mother church located in northern Armenia. The circular structure projects square porticos employing

Roman Doric columns. A few blocks to the north, the slender Church of Our Lady of Lourdes, on Ophir Street, is one of Singapore’s most eye-catching Catholic churches. Constructed in 1888, its neo-Gothic design is modelled after the original church in Lourdes, France. Back at Demsey Hill, Muller explains the architecture of the serene redbrick St Georges Hill and whence it came. “Several decades ago, this was the British Army Garrison church. But actually this form of church goes back many centuries to the very first Christian churches of the Romanesque period in Northern Europe, in the Fourth and Fifth Centuries AD, when Christendom had finally become sufficiently established and widespread to have generated its own style of building for worship. That style is called the “Basilica”. The Christian basilica is basically a long rectangular “barn-shape”, based on a tem-ple that the Greeks had devel-oped in antiquity -- and which the Romans subsequently copied – a rectangle with a pitched roof and columns sur-rounding it. The action all took place at the altar end, with the congregation entering at the back and other entrances but facing the front. Creativity on a biblical scale was thriving on the Little Red Dot long before the arrival of the first air-conditioned shop-ping mall or governmental plan to enhance the city’s image as an arts centre.

SPACE

Text: Nick Walker Images: David Chan/ Singapore Tourism Board

TOUCHED BY THE HAND OF GOD

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JULY 2011 / 51

PERSPECTIVES: Art HK 2011

CASH OF THE TITANS

The fourth edition of Art HK established it as one of the world’s art extravaganzas, if not

Asia’s premier art fair. The hubbub surrounding it certainly made it seem like an event in which

the giants of the art world headed East – and the result was elegantly historical.

Text: Bharti Lalwani


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There was a diverse selection of artwork at Art HK (11).

Blue chip galleries

this year had a greater

selection of recognisable

artists

“

”

JULY 2011 / 51

They came, they saw, they collected? The West didn’t conquer the East and neither did visa versa happen. But the diversity at Art HK (11) raised questions about Western artists in Asia, as a debate about Ai Wei Wei, whose work was sold at the event by a Swiss gallery, added a ghostly conscience to all present. Beyond that, an obvious difference this year was that the fair was split into two floors – the lower level for established galleries and the upper floor was reserved for Art Futures (a term that with all its financial connotations refers to younger artists) and a new Asia One section

where Asian galleries can exhibit the solo shows of emerging artists. This at least allowed space for artwork appreciation between booths unlike last year when, on the day of the vernissage, you couldn’t move two feet without hearing the sound of breaking champagne flutes! New participants this year in-cluded the Tanya Bonakdar Gallery, Blum & Poe, Peter Nagy’s Nature Morte from Delhi and Vitamin Creative Space from Hong Kong. Blue chip galleries this year had a greater selec-tion of recognisable artists – London’s White Cube, instead of emphasising ‘The Hirst’ or ‘The Emin’, brought

in a good selection by other artists such as Jake and Dinos Chapman’s Hellscape Dass Kapital ist Kaput? Ja? Nein! Dummkopf! (2008). This surprisingly sold to an Asian collector for £525,000 and Hauser & Wirth Lon-don sold Bharti Kher’s An eye for an eye, (2011) to a

Jake and Dinos Chapman’s Dass Kapital ist Kaput? Ja? Nein! Dummkopf! (2008)

Bharti Kher’s An eye for an eye

Claes Oldenburg’s

1961 soft sculpture

SOLD

SOLD

SOLD


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Beijing–based collector for US$265,000. I spotted Jose Mugrabi at a NY gallery’s booth. This main floor on the whole felt dull, empty even, and the sales seemed slow in comparison to the upper section’s Asia One and Art Features where works were not only affordable but also more experimental, edgy, uninhibited and apparently ‘fun’, judging by the number of families out with kids to explore art! But here’s the heart of the matter, for an art fair in Asia, who do you think will make better sales– the overseas gallery selling Venessa Beecroft, Olafur Eliasson or Yinka Shonibare or the Asian gallery sell-ing Chinese or Indonesian artists such as Liu Wei, Yan Pei–Ming, Fx Harsono or Heri Dono, whose repre-sentatives can speak at least Cantonese or Bahasa? After all why should a Chinese or a Southeast Asian collector buy Tracy Emin, for instance, when her work has no direct cultural resonance with this

particular audience? L & M’s (NY) Francois Renet explained his decision for bringing in heavyweight works which would be new and unfamiliar to the Asian audience such as a 1961 soft sculpture by Claes Olden-burg as well as a Jeff Koons Walrus Trashcan which went unsold (his Orange Mon-key Train painting did sell to an Asian buyer for USD 3.5 million). Those figures indicate a successful event. But basically L&M and many other galleries are in agreement with fair director Magnus Renfrew that the primary focus is not on mak-ing “blockbuster sales” but instead on educating diverse audiences many of whom are treading towards an art fair for the first time. The fair then becomes a hub for an exchange of ideas and not just about “Asian Audience” learning about “western art-ists” but the other way round as well. It might also prove that artists on both sides of the camp can resonate internationally through the

universal language of art. As most of us know, Art Basel has bought into Art HK (whch has in turn bought into India Art Summit–now India Art Fair) so it will be extreme-ly interesting to watch the eastern hemisphere in 2012 and the former Basel head Rudolph Lorenzo’s Art Stage Singapore (or A.S.S) 12–15th January, then India 25–29th of the same month followed by Hong Kong 2–5th Febru-ary. But before you think “fair fatigue”, get this – Lorenzo was at Art Hk to assure po-tentially interested galleries that he would be willing to change the dates around as its too close to India and HK, while I have it on good authority that Magnus will keep the May dates as busi-nesses will be shut during the Chinese New Year for the entire month starting the end of January 2012! Unless I’m completely wrong and Art HK maintains its February dates on the presumption that the locals will forego their lunar holidays just because there’s an art fair in town!

JULY 2011 / 55

The fair was divided with established galleries on the lower floor and new sections called Asia One and Art Futures on the upper floor.

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It may have been the first time that such an internation-al art crowd converged on Hong Kong. Galleries were expectant, and for some it was an experiment. At Art

PERSPECTIVES

Text: Remo Notarianni

ART OF THE SALE

HK (11), many came away with sales, but all experi-enced art market history first-hand and they had different things to say about the event.

White Cube, London “There were two serious col-lectors interested within the first hour and ‘Dass Kapital ist Kaput? Ya? Nein! Dum-mkopf!’ sold for £525,000 God and the devil were in the detail in this piece and it wasn’t just collectors interested - students, from school children to art school were compelled by the work. It is also deeply darkly comic – a brilliant mixture of The Last Judgement in collision with Hammer House of Horror all rendered with forensic precision. As one young student said to me ‘this is horrible – I love it’” Tim Marlow, Director of Exhibitions

Jake and Dinos Chapman, Dass Kapital ist Kaput? Ya? Nein! Dummkopf

JULY 2011 / 57

Alan Cristea Gallery, London“Gordon Cheung’s ‘Still Life with Tulips on Orange’ was amongst the most popu-lar pieces and had a lot of interest. People were drawn to this piece because of the striking colours, the highly impastoed texture of the sur-face of the piece, the com-bination of different painting techniques with collage and the art historical reference.” Hanna Sorrel, Exhibitions Co-Ordinator

Arndt Gallery, Berlin“Art HK (and probably soon Art Basel Hong Kong) has established itself as the leading art fair in Asia within just four years. Thanks to a lot of hard work preparing for the fair and establish-ing contacts in the region over the last four years, my third time participating in it was a great success. We sold works by Sophie Calle, Nedko Solakov, Chiharu Shiota, Gilbert & George, significant magna opera by Liu Xiaodong, Wang Guangyi and Jitish Kallat.” Matthias Arndt, Director

Jitish Kallat, Field Notes (Sweat on the Clouds)

Gordon Cheung, Still Life with Tulips on Orange

PERSPECTIVES: Art of the Sale

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Yumiko Chiba Associates, Tokyo“So many galleries participat-ed and the fair showed quality works from all over the world. In such an arena, the galleries from Asia put up a brave fight against the small galleries. Yuichi Higashionna’s works got a good reaction from many people. Despite all the other art, collectors showed a great interest in our booth.” Keiko Mizuno

L&M Arts, New York & LA“I thought Art HK (11) was incredibly well-organised for such a young fair and was a beautiful experience and the fact that Art Basel bought it confirms this. I think mistakes, such as separating Asian galleries from non-Asian ones was a mistake that is be-ing corrected. We sold Jeff Koons’ Orange Monkey Train to a European collector. it has a great pop sense with the colours and the artist is well-known in the region.” Dominique Levy, Partner

Yuichi Higashionna, installation

Jeff Koons, Monkey Train

(Orange)

Support our ART to the heARTland and project

Social Creatives is a non-profit organization with a mission to connect youths through art.

Tel: 8366 6093 email: [email protected]

GatefoldFP_AD-SC2.indd 1 3/18/11 2:35 PM

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Art Trove

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, [email protected]

ww.art-trove.com

51, Waterloo Street, #02-01/02/03, Singapore 187969

Montage III - Zu Garbriele Mistral”, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s

Art Trove

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Art Trove

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, [email protected]

ww.art-trove.com

51, Waterloo Street, #02-01/02/03, Singapore 187969

Montage III - Zu Garbriele Mistral”, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s

Art Trove

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GANGES AVE

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- Pop and Contemporary Fine Art

- Gallery Reis Artspace @ The Royal on Scotts

- Heng Artland- Jasmine Fine Art- Sin Hua Gallery- Drawing Gallery

Opera Gallery

Third Floor Hermes

Vue Privée

- Art Forum- The Tolman Collection

LarasatiArt GoGo

Chan Hampe Galleries

Art Trove, The Private Museum, M Gallery,Yavuz FA

Forest Rain Gallery

OVAS Art Gallery

The Picturehouse

Foundation Oil Painting

Eagle’s Eye Art Gallery

M.A.D (Museum of Art & Design)

Impress Galleries

DBS Arts Centre Singapore Repertory Theatre

FOST Gallery

Night & Day

YOUR Mother Gallery

ARTXCHANGE Gallery

Singapore Philatelic Museum

The EsplanadeThe National

Art Gallery, Singapore

72-13

Peranakan Museum

The Substation

National Museum of Singapore

Action Theatre Singapore Art Museum

8Q SAM

Young Musicians’ Society

Singapore Calligraphy Centre

Fort CanningPark

SINGAPORE’S ART & HERITAGE DISTRICT

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Artcommune Gallery,Ken Crystals

iPRECIATIONThe Fullerton Heritage

Barrosa Studio, D’Art, Geeleinan Art Gallery & Studio, Kelly Reedy Studio Arts, Marisa Keller, Sealey Brandt Photography Studio,

Singapore Botanical Garden

NAPIER ROAD

Echo Art Gallerie Ha Karen Art Gallery Hogarth Art LondonKwan Hua Art GalleryLi Fine ArtMulan GalleryPeter’s FrameSun CraftYang Gallery

The Peach Tree

Boon’s Pottery, Bruno Gallery

The Gallery of Gnani Arts, GJ Asian Art

Source Contemporary African Fine Art

MERLIONDreamSpace Art Studio

Fortune Cookie Projects, Galerie Waterton, Light Editions Gallery, L2 SPACE, ReDot Gallery, Valentine Willie Fine Art

Red Dot TrafficIndigo Blue Art

Sotheby’s Institute of Art

Utterly Art

Galerie Sogan & ArtCollectors Contemporary,Mercedes-Benz Center,Volvo Art Loft

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Chan Hampe / Fill-your-wallsLiving Portrait

Galerie Belvedere

Jeremy Ramsey Fine Art

Give Art

Momentous Ats

Outram Station

Tanjong Pagar Station

Marina Bay Station

TANJONG PAGAR, CHINATOWN & RAFFLES

DEMPSEY, HOLLAND, TANGLIN & WESSEX

MARCH 2011 / 63

LEGEND

GALLERY SPOTTED

MAIN ROAD

SMALL ROAD

EXPRESSWAY

ART GALLERY

PUBLIC PLACES

SCHOOLS

MRT

Art Trove Gallery 51 Waterloo Street #02-01/2/3Singapore 187969

T: +65 6336 0915 F: +65 6336 9975E: [email protected] W: www.art-trove.com

Opening Hours

Wed- Sun: 11am to 6.30pmCall for private viewing

JUNE 2011 / 62

dd’Art 5 Westbourne Road #02-03d’peak Art space Kaki Bukit Road 1 #01-07

dlr gallery 22 Marshall Roaddynasties Antique & Art gallery 18 Boon Lay Way #01-136

eeagle’s eye 39 Stamford Road #01-01echo Art galerie 19 Tanglin Road #02-59evil empire 48 Niven Road

f

fOst 65 Kim Yam Road

ggalerie Belvedere 168 Robinson Road #36-01galerie Waterton 39 Keppel Road #02-01gj Asian Art 1 Cuscaden Road #01-03the gallery of gnani Arts 1 Cuscaden Road #01-05

singApOre gAlleries

AAndrewshire gallery 5 Swiss Cottage EstateAratong galleries 26 Mount Pleasant DriveArt facet 10 Anson Road #19-08Art forum 82 Cairnhill RoadArt glass solutions 30 Kuo Chuan AvenueArt seasons 7 Kaki Bukit Road 1 #02-12Art tree gallery 333A Orchard Road #04-11

Art-2 gallery 140 Hill Street #01-03artcommune 133 New Bridge Road #02-77Artfolio 328 North Bridge Road #02-25Artgogo 402 Orchard Road #02-08ArtinnO 391B Orchard Road #23-01Arty Art gallery 686A Woodlands Drive 73 #15-52

B

Bartha & senarclens 75 Emerald Hill Road

CCape of good hope 140 Hill Street #01-06CdeM Art & design Blk 5 Westbourne Road #01-02Collectors Contemporary 5 Jalan Kilang Barat #01-03COMBinArt 27 Woodlands Industrial Park E1 #01-08

Boon’s pottery91 Tanglin Road #01-02A Tanglin Place Singapore 247918T: +65 6836 3978www.boonspottery.com

ArtxChAnge gallery6 Eu Tong Sen Street#02-65 The CentralSingapore 059817T: +65 9027 3997 (Benny)www.artxchangegallery.com

Bruno gallery91 Tanglin Road#01-03 Tanglin Place Singapore 247918T: +65 6733 0283www.brunoartgroup.com

fill your walls21 Tanjong Pagar Road #04-02Singapore 088444T: +65 6222 1667www.fill-your-walls.com

forest rain gallery261 Waterloo Street #02-43/44 Singapore 180261T: +65 6336 0926www.forestraingallery.com

Art trove51 Waterloo Street #02-01 to 03Singapore 187969T: +65 6336 0915www.art-trove.com

Chan hampe galleries @ Raffles Hotel328 North Bridge Road#01-04 Raffles Hotel ArcadeSingapore 188719T: +65 6338 1962

@ tanjong pagar21 Tanjong Pagar Road#04-02Singapore 088444T: +65 6222 1667www.chanhampegalleries.com

DaTang Fine Arts Singapore177 River Valley Road, Liang Court , #02-09A Singapore 179030 T: +65 9846 2098 / +65 9721 3718www.9911art.com

DIRECTORIES

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Gallery Reis 390 Orchard Road #03-01/02

HHaKaren 19 Tanglin Road #02-43Heng Artland 290 Orchard Road #04-08

IImpress Galleries 1 Kim Seng Promenade #02-07/08Indigo Blue Art 33 Neil Road INSTINC 12 Eu Tong Sen StreetiPRECIATION 1 Fullerton Square #01-08

KKARTESTUDIO 181 Orchard Road #B2-23/29

Kwan Hua 19 Tanglin Road #02-09

LL2 Space 39 Keppel Road #02-02ALarasati www.larasati.com

Linda Gallery 15 Dempsey Road #01-08 Light Editions Gallery 39 Keppel Road #02-02BLiving Portraits 31 Tanjong Pagar Lukisan Art Gallery 110 Faber Drive

MM Gallery 51 Waterloo Street #03-03B/04Metakaos 1 Kaki Bukit Road 1 #03-22Mulan Gallery 36 Armenian Street #01-07

Li Fine Art19 Tanglin Road#03-32 Tanglin Shopping CentreSingapore 247909T: +65 6235 3306www.lifineart.com

Ken Crystals6 Eu Tong Sen Street#03-72 The CentralSingapore 059817T: +65 6339 0008 E: [email protected]

OOde to Art 252 North Bridge Road #01-36E/FOoi Botos Gallery 11 One Tree HillOpera Gallery 2 Orchard Turn #03-05

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RReDot 39 Keppel Road #02-06Red Sea 9 Dempsey Road #01-10

SS.Bin Art Plus 140 Hill Street #01-10/11/12

Sun Craft 19 Tanglin Road #02-08

Pop and Contemporary Fine Art390 Orchard Road#03-12 Palais Renaissance Singapore 238871T: +65 6735 0959www.popandcontemporaryart.com

Sunjin Galleries 43 Jalan Merah Saga#03-62 Work Loft @ Chip Bee Singapore 278115T: +65 6738 2317www.sunjingalleries.com.sg

Galerie Sogan & Art33B Mosque StreetSingapore 059511T: +65 6225 7686Hp: +658138 0277www.soganart.com

OVAS Art Gallery9 Penang Road#02-21 Park MallSingapore 238459T: +65 6337 3932 www.ovas-home.com

The Gallery of Gnani Arts1 Cuscaden Road#01-05 The Regent Singapore 249715T: +65 6725 3112www.gnaniarts.com

Muse The Art Gallery268 Upper Bukit Timah Rd #03-09 @ The Old Fire StationSingapore 588210T: +65-8388 0044www.musetheartgallery.com

DIRECTORIES

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MUSEUMS

Asian Civilisations Museum www.acm.org.sgChangi Museum 1000 Upper Changi Road NorthMAD Museum of Art & Design 333A Orchard Road #03-01MINT Museum of Toys 26 Seah StreetNational Museum of Singapore 93 Stamford RoadPeranakan Museum 39 Armenian StreetPost Museum 107/109 Rowell RoadThe Private Museum 51 Waterloo Street #02-06Red Dot Design Museum 28 Maxwell RoadRSAF Museum 400 Airport Road Singapore Art Museum 71 Bras Basah RoadSAM at 8Q 8 Queen StreetSingapore Coins and Notes Museum 2 Trengganu Street Level 3Singapore Navy Museum 32 Admiralty Road WestSingapore Philatelic Museum 23B Coleman Stree

VENUES / ASSOCIATIONS / GROUPS

Alliance Française de Singapour 1 Sarkies RoadArt Retreat (Wu Guanzhong Gallery) 10 Ubi Crescent #01-45/47ARTSingapore www.artsingapore.netArtSpace at Royal Plaza Hotel 25 Scotts RoadCOMBINART 27 Woodlands Industrial Park E1 #01-08Esplanade 1 Esplanade DriveEmily Hill 11 Upper Wilkie RoadGive Art 65 Spottiswoode Park RoadGnani Arts Space 190 Middle Road #02-03/31Jalan Bahar Clay Studios 97L Lorong TawasJENDELA (Visual Arts Space) 1 Esplanade Drive Level 2La Libreria 50 Kent Ridge Crescent Level 3Little Red Shop www.littleredshop.org

Ngee Ann Cultural Centre 97 Tank RoadNight & Day 139 A/C Selegie RoadOsage 11B Mount Sophia #01-12Post-Museum 107+109 Rowell RoadPublic Art Space (Pan Pacific) 7 Raffles BoulevardSculpture Square 155 Middle RoadSinema 11B Mount Sophia #B1-12 Singapore Art Society 10 Kampong EunosSingapore Contemporary Young Artists www.contemporaryart.sgThe Art Gallery 1 Nanyang WalkThe Arts House 1 Old Parliament Lane

TTasa Gallery 89 Short StreetTembusu 140 Hill Street #01-05The Gallery of Gnani Arts One Cuscaden Road #01-05The Peach Tree 129 Tanglin RoadThe Tolman Collect 82 Cairnhill Road

U

VValentine Willie Fine Art 39 Keppel Road #02-04VITRIA 17 Chee Hoon AvenueVue Privee 20 Cairnhill Road

WWai’s Art Gallery 6 Eu Tong Sen Street #02-64Wetterling Teo Gallery 3 Kim Yam RoadWhite Canvas Gallery 78 Guan Chuan Street

XXuanhua Art Gallery 70 Bussorah Street

YYang Gallery 19 Tanglin Road #02-41 YAVUZ Fine Art 51 Waterloo Stree #03-01

Your MOTHER gallery 91A Hindoo Road

#2902 Gallery 11 Mount Sophia Block B #B2-09

ART AUCTIONEERS / DEALERSBlack Earth Auction 367 Joo Chiat RoadBorobudur www.borobudurauction.comMasterpiece www.masterpiece-auction.comY2ARTS 140 Hill Street #01-0233 Auction www.33auction.com

Yisulang Art Gallery6 Handy Road#01-01 The Luxe Singapore 229234T: +65 63376810www.yisulang.com

Mercedes-Benz Center301 Alexandra RoadSingapore 159968T: +65 6866 1888www.mercedes-benz.com.sg

The Luxe Art Museum6 Handy Road#02-01 The LuxeSingapore 229234T: +65 6338 2234www.thelam.sg

Utterly Art LLP229A South Bridge RoadSingapore 058778T: +65 9487 2006 +65 6226 2605www.utterlyart.com.sg

DIRECTORIES

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The Gallery (SMU) 90 Stamford RoadThe Picturehouse 2 Handy RoadThe Substation 45 Armenian StreetThird Floor – Hermès 541 Orchard RoadVictoria Theatre & Concert Hall 11 Empress PlaceVolvo Art Loft 249 Alexandra Road72-13/TheatreWorks 72-13 Mohamed Sultan Road

ART SERVICES

FRAMERS

Ace Framing Gallery 226 River Valley RoadFrame Hub Gallery 46A Lorong MambongPeter’s Frames 19 Tanglin Road

CONSERVATION / RESTORATION

Benaka Art Conservation Private Ltd 64 Taman Warna

ART SCHOOLS

Bhaskar’s Art Academy 19/21 Kerbau RoadLASALLE 1 McNally StreetNanyang Academy of Fine Arts 38/80/151 Bencoolen StNTU (School of Art, Design & Media) 81 Nanyang DriveNUS Museum 50 Kent Ridge CrescentSchool of the Arts (SOTA) 1 Zubir Said DriveSotheby’s Institute of Art 82 Telok Ayer StreetThe Republic Cultural Centre 9 Woodlands Avenue 9The Singapore Tyler Print Institute 41 Robertson Quay

ARTIST STUDIOS

Barrosa Studio 4 Woking Road #01-02

Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03Jeremy Ramsey Fine Art 16 Bukit Pasoh RoadKelly Reedy - Studio Arts 27 Woking Road #01-01Ketna Patel 35 Jalan Puteh Jerneh

Marisa Keller 28 Woking Road #03-05Sealey Brandt Photography Studio 1 Westbourne Road #01-02 Telok Kurau Studios 91 Telok Kurau Lorong J

TOURIST SPOTS

Armenian Church 60 Hill StreetBattle Box 51 Canning RiseBotanic Gardens 1 Cluny Road +65 6471 7361Buddha Tooth Relic Temple 288 South Bridge Road

Foundation Oil Painting(conducted by Mr Wee Shoo Leong)155 Waterloo Street#01-04 Stam ford Arts CentreSingapore 187962+65 9726 2028www.foundationoilpaintingclass.com

Chieu Sheuy Fook Studio Studio 102 91 Lorong J Telok Kurau Road Singapore 425985+65 96690589email: [email protected]

DreamSpace Art Studio艺术创作，专业绘画教育。19 China Street#03-04/05 Far East SquareSingapore 049561+65 9168 7785www.hill-ad.com.sg

Ray’s Transport & ServicesArtwork Installation & Delivery ServicesAll other Art related services+65 [email protected]

m’a ARTSTransportation & Installation of Art Works Other art related services.+65 8611 [email protected]

Koeh Sia Yong 许锡勇10 Kampong Eunos Singapore 417774 +65 9671 2940e: [email protected]/koehsiayongwww.koehsiayong.artfederations.com

DIRECTORIES

JUNE 2011 / 69

HONG KONG ART GUIDEAmelia Johnson Gallery www.ajc-art.comFabrik Contemporary Art www.fabrik-gallery.comGagosian Gallery www.gagosian.comGalerie Huit www.galeriehuit.com.hkHanart TZ Gallery www.hanart.comI/O Input Output www.inputoutput.tvKarin Webber Gallery www.karinwebbergallery.comKing’s gallery www.kingsgalleryhk.comMADHOUSE Contemporary www.madhouse.com.hkMadhouse Contemporary www.madhouse.com.hkNew Gallery on Old Bailey www.newgalleryonoldbailey.comShin Hwa Gallery www.shinhwagallery.comYan Gallery www.yangallery.com

LONDON ART GUIDEAICON GALLERY London 8 Heddon Street, London W1B 4BU Chinese Contemporary The Studio House, 7/9 Edith Grove ,London, SW 10 0JZDanielle Arnaud contemporary art 123 Kennington Road, London SE11 6SF Hai Gallery 46a Harrowby Street, Marble Arch, London W1H 5HTHalcyon Gallery 24 Bruton Street, London W1J 6QQJealous Gallery 27 Park Road N8 8TE Crouch End LondonKings Place Gallery 90 York Way, London N1 9AG Lisson Gallery 52-54 Bell Street, London, NW1 5DARichard Green147 New Bond Street, London, W1S 2TSSerpentine Gallery Kensington Gardens, London W2 3XASouth London Gallery 65 Peckham Road, London SE5 8UHThe Air Gallery 32 Dover Street, London W1S 4NEThe Brick Lane Gallery 196 BRICK LANE, E1 6SA LondonThe Hart Gallery 113 Upper Street, Islington London N1 1QNWalton Fine Arts154 Walton Street, Knightsbridge, London SW3 2JJ

EUROPE ART GUIDE

UNITED STATES ART GUIDE

JOHN P. FELIX AND PETRA GALLERIEwww.petragallerie.com1149 and 1151 S. Robertson SORO, Los Angeles, CA 90035310-247-0252

ART FAIRSArt Fair Tokyo www.artfairtokyo.comChina International Gallery Exposition (CIGE) www.cige-bj.comArt Beijing www.artbeijing.netArt Revolution Taipei www.arts.org.twArt Melbourne www.artmelbourne10.com.auYoung Art Taipei www.youngarttaipei.comHong Kong International Art Fair (ART HK) www.hongkongartfair.comArt Indonesia www.artindonesia.netArt Daegu www.artdaegu.comMelbourne Art Fair www.artfair.com.au/fairAuckland Art Fair www.aucklandartfair.co.nzAsia Top Gallery Hotel Art Fair Seoul (AHAF) www.hotelartfair.krArt Taipei www.art-taipei.comSH Contemporary www.shcontemporary.infoShanghai Art Fair www.sartfair.comARTSingapore www.artsingapore.netFine Art Asia www.fineartasia.comArt Canton (Canton International Art & Collection Fair) www.artcanton.comArt Expo Malaysia www.artexpomalaysia.comAffordable Art Fair (Singapore) www.affordableartfair.sgContemporary Istanbul Art Fair www.contemporaryistanbul.comArt Stage Singapore www.artstagesingapore.comIndia Art Summit www.indiaartsummit.comArt Dubai www.artdubai.aeContemporary Istanbul Art Fair www.contemporaryistanbul.com

FLO PETERS GALLERYChilehaus CPumpen 820095 Hamburg, Germany+49 40 3037 4686www.flopetersgallery.com

© Elliott Erwitt/MAGNUM Photos

L & M ARTS45 East 78 StreetNew York 10075+1 212 861 0020www.lmgallery.com

GALERIE CHRISTIAN LETHERT Antwerpener Strasse 4D - 50672 Köln (Cologne) Germany+49 (0)22 1356 0590 www.christianlethert.com

DIRECTORIES

70 / TPAG

ISSUE 21 | JULY 2011

HWANG SAE JIN

ISSUE 21 JULY 2011| Asia’s G

lobal Art Magazine

The Pocket Arts Guide (July Issue)

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Transcript of The Pocket Arts Guide (July Issue)