The Pocket Arts Guide (Sept Issue)

POP AND CONTEMPORARY FINE ART

FEATURED ARTISTS:ANDY WARHOL DAMIEN HIRSTKEITH HARINGYAYOI KUSAMA

BURTON MORRIS TAKASHI MURAKAMIROBERT LONGOROY LICHTENSTEIN

Yayoi Kusama - Pumpkin YT - Screenprint

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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ContentsTPAG September 201 1 / Issue 23

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4 EDITOR’S LETTER

8 ART WIREGalleries updates and events

40 PORTFOLIO: FINE ART FAIRTimeless treasures for everyone

44 PORTFOLIO: MARKET VOICESWhere the classical world meets the modern age

46 PORTFOLIO: BUSINESS MODELUnpacking the ‘White Cube’

52 SPACETaking charge at Art Jog 11

56 MAPArt Galleries in Singapore

62 DIRECTORY LISTING68 CLASSIFIED

12 IN THE FRAMEAngels in the Details: Raphael Abecassis

26 ART LANDSCHINA: Blurring the lines

20 FEATUREConnecting the dots

32 STORYKaboom and bust!

36 GLIMPSEJust Around The Corner

ISSN 2010-4375 / MICA (P) 130/03/2011

Editor-in-Chief Remo Notarianni [email protected]

Art DirectorMelvin Ho [email protected]

Contributors Gladys Teo, Bonnie E. Engel, Bharti Lalwani

Advertising [email protected]

General enquiries and [email protected]

Submission of press [email protected]

Dear Readers,The September 2011 issue of The Pocket Arts Guide (TPAG) is filled with all the elements that have made it “Asia’s Global Art Magazine”. But as the publica-tion has looked beyond the Little Red Dot, it hasn’t forgotten the galleries and emergent artists who have helped kickstart Singapore’s innovative art world. In the last few months, the publication has become known in major cities including London, Hong Kong, and LA. There was a time when it was unimaginable that the publication could be handed out at art events in West Hollywood, as it has been in recent months. As one subscriber outside Asia commented, TPAG is perhaps unique in the way it at once covers very local content and art stories of global significance. No matter how wide our focus might be, we are committed to making all the stories relevant to Sin-gapore, and that means helping its creative fire burn brighter globally. TPAG is also about giving Asian artists exposure in the cities abroad. This has resulted in some interesting developments. We are now the official media partner of Fine Art Asia, one of Asia’s premier art fairs and it is unique in the way it has combined antiques with contemporary art. This issue looks forward to Fine Art Asia 2011 in October, which is exciting for collectors globally and regionally, but it also includes some unique ingredi-ents such as an interview with Pop and Contemporary Fine Art’s Saskia Joosse on the gallery’s awesome Yayoi Kusama exhibition. Art Lands looks at China with coverage of traditional ink-and-brush artists and exhibitions in Singapore. Enjoy the variety, the in-sights and, most of all, the interesting ideas that make each issue unique.

Remo Notarianni Editor-in-Chief

editor’s letter

04 TPAG | Sept 2011

Raphael Abecassis,Psalms of David, Original

watercolor and Gouache 2007, 100 x 70 cm

Represented by Bruno Gallery

On the Cover

THE POCKET ARTS GUIDE PTE LTD (TPAG) 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115All 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 distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. 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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art wire

Nobuyoshii Araki: All Women are Beautiful07.09.11 – 23.10.11Galerie Steph and Ooi Botoswww.galeriesteph.com Singapore

Galerie Steph, together with Ooi Botos, is pleased to present the first-ever Singapore gallery exhibition of famed and contro-versial Japanese photographer, Nobuyoshi Araki. This solo exhi-bition is titled ‘Nobuyoshi Araki: All Women are Beautiful’. The exhibition looks at the photographer’s often controver-sial language of sensuality. Araki has made a name for himself with his own insightful look at the world around him and at the human form. His work has been admired by artists and celebri-ties globally. Featured are large format colour photographs and unique Polaroid prints from the series ‘Novel Photography’ (1995), ‘67 Shooting Back’ (2007), ‘Pola Eros’ (2006 - 2009), ‘Sky’ (2006 - 2009) and ‘Pola Nostal-gia’(2011). The exhibition is a stunning event both for Araki en-thusiasts and as an introduction to the artist.

Liu Kang – A Centennial Celebration29.07.11 – 16.10.11Singapore Art Museumwww.nationalartgallery.comSingapore

This exhibition marks the cen-tennial year of the birth of Liu Kang –one of the most influential Singaporean artists of his gen-eration. Known for his Balinese-themed figurative paintings, Kang skillfully fused elements of art and tradition from different continents in his work. To commemorate the 100th year of Liu Kang’s birth, the Na-tional Art Gallery, Singapore, to-gether with the Global Chinese Arts & Culture Society and Li-anhe Zaobao held a forum titled “Liu Kang: Tropical Vanguard” on Saturday, 2 April 2011. The forum brought together a panel of established artists to discuss Liu Kang’s significant in-fluence and contributions to Sin-gapore’s art history, the local and international perspectives of this pioneering artist, and his many facets as a leader and visionary of the Singapore art community.

Framing the framed01.09.11 – 30.09.11Indigo Blue Artwww.indigoblueart.comSingapore

The behavioural patterns of the Indian middle class, the rising social malaise in contemporary society and the role of the State sets the stage for P.G. Dinesh’s off the wall characters in his first solo exhibition in Singapore. His works communicate sub-liminally and brazenly, but not without an astute sensitivity to prevailing societal changes, the tensions faced by the middle class family in keeping up ap-pearances and moral upright-ness while drawn to a lifestyle filled with avarice and deca-dence. Artist P.G. Dinesh was born in Thissur, Kerala. The dialect of Thissur is noted for its flair of witticisms, quips and jabs, expressed through clever word-play. Hence, Dinesh’s ‘brand’ of humour is not unusual if it is understood in the context of the very regional ethos from where he hails.

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Deadlocked25.08.11 – 01.09.11 Galerie Sogan & Artwww.soganart.comSingapore

In Utterly Art’s first collaboration with Galerie Sogan & Art, we present the first solo sculpture show of UOB Painting of the Year award-winning artist Joel Yuen, who actually won for his photographs in the 2008 com-petition. In Deadlocked, Yuen’s mixed media wood sculptures of fig-ures assume a rather primitive aspect, alluding to the ties that bind the city together. With a short history, Singapore is still in the process of carving out its own national identity. The 28-year old Singapor-ean-Chinese, English-educated Roman Catholic is in a constant negotiation between cultural in-fluences from China and West-ern ideology. As art is moving beyond a national domain, the answers would take forever to unravel but this exhibition is a good place to start an important debate.

Intimacy02.09.11 – 25.09.11Yavuz Fine Artwww.yavuzfineart.comSingapore

Yavuz Fine Art will present In-timacy, a group exhibition that looks at the emotional and philo-sophical ideas between the safe harbour of conventions and the need to express individuality. The works these artists cre-ate using media such as pho-tography, painting, drawing, video became a medium of their individuality. These are ways to express their individuality while developing an intimate relation-ship with the subject itself. The artists include Ahmad Abu Bakar,Eric Lai, Ezzam Rahman,Lester Lee,Sai Huan Kuan, Stella Chang, Stellah Lim, Susie Wong, Tang Ling Nah. The artists in their own unique ways, reveal how indi-viduality and the group can co-exist in harmony and through such work, a unified statement is made that can be understood on political, personal or spiritual levels.

L’Homme qui Plantait des Arbres07.02.11 – 0Tokyo Museum of Contemporary Artwww.mot-art-museum.jpJapan

Canadian artist Frédéric Back (born 1924, Saarbrücken, cur-rently living in Montreal) has won two Academy Awards. With cooperation from Japan’s Stu-dio Ghibli, this exhibition pres-ents his most famous animation along with some groundbreaking work that makes him a unique award-winning artist, with world-wide recognition. ‘The Man Who Planted Trees’, as well as approximately 1,000 valuable works, including original artwork from his repre-sentative works and drawings produced while he was living in France until 1948 are presented at the event. The retrospective is a unique showcase that is artisti-cally autobiographical. It will be the first comprehen-sive introduction to the imagina-tive world he creates through his art, a world which presents a rich insight into the environment, Native American culture and the problems facing the world today.

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art wire

Belgravia Gallery at Asia Fine FairOctober 3 – 7Asia Fine Art Fairwww.belgraviagallery.comHong Kong

Belgravia Gallery will announce a retrospective exhibition of water-colours by architect, A. Eugene Kohn in conjunction with Hong Kong Land and Kohn Pederson Fox Associates that runs from October 1 to October 14. Known internationally for his prominent works of glass and steel, Kohn’s thoughtful watercolours reveal a deep understanding of colour, freeness of line and form. With contacts throughout Asia, Europe and the United States, London’s Belgravia Gal-lery, opened its first international office in Hong Kong in January, 2011. It offers art advisory ser-vices to private and corporate clients looking for works by es-tablished or emerging artists. Belgravia Gallery is par-ticipating in Fine Art Asia for the second year. The gallery is exhibiting a selection of works by Rembrandt, Andy Warhol, Pablo Picasso, Lincoln Selig-man, Charlie Mackesy and fine paintings by significant post-im-pressionist painters art the fair. Booth number at Asia Fine Art Fair: J1.

NY 10048: Photographs of the World Trade Center from the Early 90s.02.09.11 – 15.09.11The Fringe Club www.hkfringe.com.hkHong Kong

Hong Kong photographer Gretchen So took a series of subtle black-and-white pho-tographs of New York’s Twin Towers in the early 1990s. The images emphasise the over-whelming presence of the iconic buildings in reaching beyond their immediate space and time. This year marks the ominous 10th anniversary of the destruc-tion of the towers. The exhibition also reveals how such behe-moths can shadowy pawns on a strange geo-political chessboard that affect us. Our emotions be-come shattered by forces we may know nothing about. The eerie exhibition also makes us realise the power of photography to document life. Following the tragic event on September 11, 2001, in which planes were flown into the build-ings by terrorists, the images have taken on a new meaning.

‘Beyond Walls’04.0911 – 01.10.11Blue Lotus Gallery www.bluelotus-gallery.comHong Kong

In this exhibition, Hong Kong’s Blue Lotus highlights some of its artists’ previous achievements and future possibilities. It also highlights the additional role of Blue Lotus as a consultant for sourcing and commissioning art-work for public art projects. The participating artists are Hong Kong-based German artist Cornelia Erdmann, Hong Kong’s Danny Lee and Wong Tin Yan, American Lynn Basa, and the Hong Kong-based Dutch artist Simone Boon. The artists have unique ways of shaping the sky-line and our world. The exhibition highlights how enriching works of art can be when applied to commissioning projects. If more creativity was allowed to shape the structures and environment around us, there would be more than box-like architectural structures in Hong Kong’s skyline, thanks to artists such as these.

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GORDON CHEUNG: The Light That Burns Twice As Bright14.09.11 – 05.10.11The Alan Cristea Gallerywww.alancristea.comLondon, UK

Gordon Cheung sees the world like a moral tourist on a great divide. His images highlight how we sit comfortably, often un-aware, in the glow of flames that eat into modern life. The images are like snap-shots of a paradoxical purgatory. We look through the windows of a hotel at a reality based on consumptive comforts such as hi-tech entertainment and elec-tronic media in a space that blurs colour, shapes. In this exhibition, the images exude Cheung’s signature co-lours — like a rainbow crushed into dark shadows. An image of the rodeo, might symbolically articulate the aimless dance of the modern world, and it shows how comfortable we are with it all—perhaps without knowing where to go in a storm of electri-cal confusion.

Jacob Kassay02.07.11 – 02.09.11L&M Arts, Los Angeles www.lmgallery.comUSA

This is Jacob Kassay’s first solo show on the West Coast. In this exhibition, Kassay continues his dialogue with colour field and minimal painting, while addition-ally considering and creating a unique environment for these works to inhabit. Kassay’s previ-ous silver paintings used depth, light and relief to activate these spaces. Here the new work also sur-prises with groupings of can-vases in blush tones and pure silver deposit, using similar minimal restraint yet differing in scale, shape and tonal varia-tion. A new idea in the work is that it suggests dancers in a bal-let studio or a choreographed performance. This installation conceit engages Kassay’s interest in artist collaborations such as Rauschenberg and Johns de-signing sets for Merce Cunning-ham performances. This com-bines a history of multi-media collaborations.

Mabini Art Project19.03.11 – 19.03.12Ataneo Art Galleryhttp://gallery.ateneo.eduThe Philippines

Juxtaposed with the Ateneo Art Gallery’s permanent exhibition, In the Eye of Modernity which showcases the museum’s core collection of modern Philippine art, Alfredo and Isabel Aqui-lizan’s Mabini Art Project stands as an invitation to reassess a fascinating genre of art. ‘Mabini’ paintings grew out of the traditions of conserva-tism, and are defined by a folk aesthetic possessing scant or no interest in theoretical dis-course. In spite of the apparent triumph of modernism in the Philippines, however, ‘Mabini’ paintings thrive. While far from being con-clusive, Alfredo and Isabel Aq-uilizan’s Mabini Art Project at-tempts to shed new light on this enduring art practice by offering perspectives that transcend both context and aesthetic. In doing so, their works put a spotlight on a corner of the Philippines.

IN THE FRAME

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Raphael Abecassis Text by Remo Notarianni

Angels in the Details

Jerusalem Harp 26 x 18.75in

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Jerusalem 25.5 x 19.75in, Watercolor and Gouache.

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IN THE FRAME Raphael Abecassis

King David 19.5 x 13.75in

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The art of Raphael Abecassis explodes like creative confetti

in a marriage of the abstract and the symbolic. His poetic images are inspired by Art History, his Jewish-Sephardic heritage, and a visually rich upbringing. “My mother was always doing colour-ful decorating and changing the furnishings at home,” recalls the Israel-based Abecassis. “There were Sephardic and Moroccan arti-facts in our home. But as an artist, I am inspired by everything good in nature, from the plants to the sea and the natural flow of the world that The Almighty renews every single day. This cyclical revitalisa-tion makes me happy.” Born in 1953 in Marrakesh,

Morocco, Abecassis’ artwork documents a journey marked by cultural motifs and artistic epipha-nies. Before marriage, he presented his future wife with a Ketubah, a traditional Jewish marriage document, and despite the Rabbi’s conservative doubts, Abecassis insisted on painting it. This gesture proved monumental and he contin-ues to create tailor-made, artisti-cally unique Ketubahs for both brides and grooms. Abecassis can be seen as an illustrator of heritage who reinvigorates it with his own unique vision. “Since I first started painting, I felt an urge to belong to the lineage of Jewish artistry,” said Abecassis. “At first, I hand drew traditional

Jonah the Prophet 19.5 x 25.5in

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Genesis 27.5 x 19.5in

Jewish art on paper. In a sense, I was greatly influenced by ancient but simple Jewish art. Then, I began painting concepts from the Bible and this brought on an inner change which required me to let go of the influences created by ancient artwork. I could begin drawing something new. All of my work comes straight from the heart and it is down to the tools that I use to create it. I do not sketch out my work. I create images that come directly from my subconscious.” His vibrant colours flow onto the canvas like a rainbow of his-tory. Like a timeless natural scene, the images appear strong, bold and brave, but with a calming effect. This vibrancy allows the stories to be retold through modern col-ours and environments. Abecassis describes a trance-like process in which a flood of images from his subconscious connects him with internalised millennia-old stories. “In every picture I draw there is a message and a tale,” reveals Abe-cassis. “My topics are mostly clas-

sical Bible stories, and I am very fond of the story of Jacob’s ladder: a ladder that connects the material world to the spiritual world. I think of it as a clear ladder that is found everywhere, it can be right next to us and also far away. This ladder can cling to us if we only open our eyes to it and stay on the path of righteousness, attempting to keep away from doing to others what we don’t want others to do to us. So to me the ladder is a wonderful subject and a symbol of the good in the world. Its beautiful col-ours bring upon us successes and blessings. The ladder is the object in which the angels climb and descend to from the material and spiritual world.” According to Abecassis, the vis-ual messages promote good deeds and protection from evil. The more

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“I do not sketch out my work. I create images that come directly from my subconscious”

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good deeds we do in life the more angels we create. Ultimately good will prevail, bringing peace and harmony to the world around us. Acts of goodwill are coded into the angelic forms of his composi-tions, seen adding light and colour to art pieces, as swirling cosmic messages break through eddy-ing forms, from curve to line, as clear as the Hebrew written into the artwork — and universally resonant. The watercolour and gouache painting Psalms of David, reflects this fluid release of the spiritual into a material artistic form. And it was through a fateful calling that Abecassis, at the age of 21, made his foray into the art world. After leaving the army in Israel, he felt compelled to sign up for an art course. Without any prior art experience and a portfolio to work with, the work that Abecassis created for the entrance exam de-fined his later style. Abecassis has

worked with a number of different techniques including decoupage, in which layers of a canvas are cut back to make it look three-dimensional. With these varied influences, he, who has also been influenced by Jewish mysticism such as the Kabalah, and sees his work as a hand-painted spiritual gift to the world. “As well as traditional readings, my ideas come from a variety of places and cultures,” said Abecas-sis. “I attempt to create concepts that everyone can associate with, themes that relate to spirituality and those that connect each of our souls together through colour and composition.”

Raphael Abecassis is representedby Bruno Gallery in Singapore.Contact: 6733 0283.Email: [email protected]

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Shabbat 31 x 20.5in

FEATURE

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Text by Bharti Lalwani

Connecting the dotsDawn, Screenprint 52.8 x 45.4 cm Edition size 100, 1989

Pop and Contemporary Fine Art is proud to present one of

the world’s most important living, contemporary female artists — Yayoi Kusama. Kusama has exhibited all around the world and participated in several biennials, including Singapore’s first biennial in 2006, and been the subject of numerous books, publications and documentaries. A major retrospective of Kusama’s artwork is being shown at the Reina Sofia in Madrid. This exhibition will then tour the Pom-padour in Paris, the Tate Modern in London and the Whitney Museum in New York. Her artwork has been the inspiration for luminaries such as Andy Warhol and Takashi Mu-rakami. Kusama enjoys a huge

global appeal and the Japanese legend has a diverse following. This has been quite a year for the avant garde artist Yayoi Kusa-ma, with an ongoing retrospective at Museo Nacional Centro De Arte Reina Sofia, Madrid, “Body Festi-val in 60’s” at The Watari Museum of Contemporary Art, Tokyo this month and a major exhibition of new works at the Victoria Miro gal-lery, London last month. “The Dots Within” will be showcased in the Ion Orchard Art Gallery from the September 12 to October 2, 2011. TPAG spoke to Pop and Contemporary Fine Art’s Saskia Joosse about how Kusama’s dots made their way to the ‘little red dot’ and the impact of her work.

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Dots (xyztt), 145.5 x 115 cm, Acrylic on canvas. 2008

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TPAG: Tell us about the exhibi-tion you’ve organised at ION this month entitled “The Dots Within”.I had the rare privilege of speaking with Kusama earlier this year when she indicated that she would love to have an exhibition of her work in Singapore. As I am a great lover of her work, it was just a matter of get-ting a suitable venue, sponsorship and putting in lots of hard work in order to make this happen. We have a keen interest in developing the cultural fabric of Singapore with exhibitions of the highest calibre. We also believe that such art exhibi-tions need to be free of charge and easily accessible to the public.TPAG: What sort of delibera-tions were made in choosing the artworks for this exhibition?I wanted this to be an intimate exhibition which would give people a glimpse into her artwork. I find it intriguing and magical. I have therefore drawn heavily from my own personal collection. I also chose to include a wide variety of print work as repetition is an inte-gral part of her art. Print work gives the artist the ability to interact and engage with a much wider audience and also gives a collector the oppor-tunity to show the progression of an artist from the beginning to the end of his or her career. We will be showing some of Kusama’s Lamé artwork as well; these are pieces created with a glit-ter application process which pro-

duces an absolutely stunning effect. And in order to not disappoint her fans, we will be exhibiting a selec-tion of her signature pumpkins, in different shapes, sizes and colours.TPAG: It is indeed incredible that at the age of 82 she is still producing new works of art. Which is the earliest piece in this exhibition?We will be showing a beautiful wa-tercolour from 1978, called ‘Moun-tain and Cloud’ and we also have a large canvas dot painting, from 2008 which will be the latest piece on display. In Kusama’s work, one will observe in her compositions either her classic polka dots or her so-called infinity nets, or of course both, that touch upon her belief in the infinite nature of the universe.TPAG: Kusama has led a most curious life, growing up in a war torn Japan, all the while coping with hallucinations, and then leaving her wealthy family to go to New York in the early sixties to make it as an artist, and indeed land herself at the forefront of feminist critique through her art. I would go as far as to say that she pre-empted Andy Warhol and the “Pop Art” movement when it came to the mass repetition of images and themes, she certainly had more fame than Warhol at one point due to her risque avant garde performances.Repetitions are an important feature in her artwork that has been seen

FEATURE Connecting the Dots

Pumpkin, Screenprint 62.8 x 54 cm. Edition Size: 100, 1990

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FEATURE Connecting the Dots

Saskia Joosse of Pop and Contemporary Fine Art, Singapore. Morning Sun, Screenprint 83 x 63 cm, Edition Size: 60, 1999.

constantly throughout the years. Repetition is also something very apparent in Pop Art in general. There is a story that Kusama has re-lated in the past about Andy Warhol asking her permission to use repeti-tions in his work, especially after seeing her creations. She is quoted as asking him not to do so, some-thing which clearly he ignored.TPAG: She was also one of the first artists who unabashedly merged art with commercial-ism by selling mirrored orbs at the Venice Biennale in 1966, I believe you have a very special piece on display which harkens back to the ‘Narcissus Garden’. Tell us about it. The piece that you are referring to is called ‘Mirror Box’, it is a diffi-cult piece to describe: From the out-side it is a polka dotted box with a small spy hole. From the inside, the four sides are mirrored with silver orbs on the red carpetted “floor”. So when you peep into it, you are transported into the ‘room’ and it is a world of silver orbs. I call it a mini portable installation! When I saw this piece I fell in love with it and at the time my husband was struggling to find a birthday present for me and offered to buy it as a gift.TPAG: You are also showing a film of Kusama...Yes, Eleven Arts has kindly allowed us to screen the 2008 Yayoi Kusama documentary “I Love Me”. We will be showing the movie, free of charge, daily. Please consult our Facebook page for hours: www.

facebook.com/pages/Pop-and-Contemporary-Fine-Art-Singa-pore/212355091857TPAG: What would you like the audience of Singapore to take away from this exhibition?First and foremost I would like people to walk away with a better understanding of this significant art-ist. Yayoi Kusama, without a doubt, is not just one of the most important female artists but also one of the most important living artists of our time who is collected around the world and has a great following. I also hope that it gives people a better understanding of print work and its importance as a medium in its own right, I still feel that people do not fully understand it and therefore, incorrectly, dismiss its significance for the artist and for the art world in general. Finally, I would like people to walk away feeling that we are all beautiful coloured dots in a Yayoi Kusama-like universe.TPAG: Will you be doing similar exhibitions on Pop Art in the future?We are looking to do a major Burton Morris Exhibition next year, which will again be non-commer-cial. Burton Morris is a tremen-dously gifted artist and I feel, still a tad under-appreciated. He executes wonderful unique works on canvas which are extremely well thought out, happy and emotive. This will be our next major exhibition project and one that I’m looking forward to!

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ART LANDS

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C H I N A

Text by Gladys Teo

CHINA’S MODERNITY APPEARS TO BE OUTPACING ITS TRADITIONS IN THE 21ST CENTURY, BUT ITS INK-AND-BRUSH ARTISTS CONTINUE TO APPEAL

AS THEY ADAPT TO CHANGE

B l u r r i n g t h e l i n e s

Wucious Wong, Great River 4 (2004), 83 x 83cm

It is fair to say that the practition-ers of China’s traditional ink-and-

brush painting have been playing second fiddle to its oil painters and conceptual artists in terms of rec-ognition. With modern sensations such as Zheng Fangzhi,Yue Min-jun, and Zhang Xiaogang making China’s contemporary art ‘global’, its traditional artisans risk being clouded by the incense of history. But in 2011, works of ink painting have enjoyed major exhibitions in international museums and reaped rewards in auction houses. Painting with brush and ink on rice paper, synonymous with Chinese identity, is perhaps embedded in the na-tional DNA. Christina Sui of The Luxe Art Museum/Yisulang Art Gallery is an ardent supporter of Chinese contemporary ink painting. In cu-rating her recent exhibition of 2004 freehand Chinese ink paintings by selected renowned artists, she pre-sents a diverse collection of works that differ dynamically in terms of techniques and themes—using the same tools of ink, brush, water and rice paper. Such elements are fluid, soft and fragile, yet when used together can produce astonishing works of strength and suppleness, rigidity and flow.

Fantasies of formThe integration of geometrical design and majestic landscapes characterise the paintings of Wucius Wong. In his ‘Great River’ series, a kaleidoscope of fragments is accomplished with a combina-tion of ‘Western’ design concepts

and classical Chinese ink painting, the interplay between brush-strokes and negative space form the backbone of his creations. In Tian Liming’s ‘Ancient Philoso-phers on a Mountain’, the features and configurations of the figures are excessively blurred, giving a misty air effect that evokes, in the imagination, a divine, mysterious mountain paradise. Modern themes of greed and sin are explored in Li Jin’s ‘Satiated’ series. Uncharacteristic in every aspect, Li paints mistress figures dressed in modern garb such as midriff tops and jeans, fussing over a male protagonist sitting in front of a delicacy-laden table. Even the traditionally heavy, determined brushstrokes of old ink masters have been replaced with delicate,

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Li Jin, Satiated 1 (2004),136x68cm

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feathery outlines and colouring that give a light-hearted, humorous feel.

Classical illusionsCai Guangbin’s ‘Window’ is visually spectacular and one could easily mistake it for a black and white photograph. Influenced by photography which is a contem-porary medium, Cai uses classical ink and paper to achieve the effects of photographic tone, light and shadow with perfection. Hai Rihan’s intention of invig-orating traditional ink painting with primal energies is evident in’Echo’. His raw strength and dynamism is manifested in bold, strong strokes and large colour patches, achieving the effect of abstract oil paintings. He subtly fills these patches with images of a subconscious world, suggesting the liberation of suppressed instincts. The balance between repression and freedom is often addressed in Chinese ink painting. The reflective, spiritual nature of Chinese ink painting has traditional roots in China, Hong Kong and Taiwan where there is a large community of collectors and supporters of contemporary ink painting today but it is yet to internationally translate.

Adding oil Mr Seah Shin Wong from Singa-pore’s Heng Artland has organised more than 150 exhibitions since 1984. He recognises the power of China’s influence in the interna-tional art market. “China plays a very important role in creating the awareness of art value,” he said. “People are starting to examine the trends in Chinese buying at international art auctions like Sotheby’s and trying to make sense of how the Chinese perceive art and value.” Mr Seah, with his connections with artists at the Beijing Institute of Fine Arts, has focused on oil paintings in recent years. “I like to know my artists first, it’s important to find a match between clients and artists. My role is to create a 3-win situation, where the interests of the artist, client and gallery are all equally considered.” Mr Seah however has the full intention to return to ink paintings. Heng Artland plans to stage a Chinese calligraphy exhibition in October, and in December. Mr Seah similarly observes how in Singapore there is a gen-eral preference for oil paintings, despite a select group of 40 to 50 collectors who show an apprecia-tion for ink paintings. “In fact, it is the quality, not the medium, that is more important. I find that my collectors are open to collect-ing both oil and ink paintings if the art is good. It is possible to

ART LANDS China

The balance between repression and

freedom is often addressed in Chinese

ink painting.

29

Cai Guangbin, Window . Strangers (2002), 210x175cm

Hai Rihan, Echo 116 x111cm

30 TPAG | Sept 2011

Jia You Fu, High mountains 66x137cm

Zeng Chuanxing, PaperBride Series 150x130cm

find a spiritual connection between both forms, and this transcends the medium altogether.” Marriage ‘wows’Mr Seah points to the works of Chen Junde, a Chinese artist from Zhejiang province whose oil on canvas work is strongly influenced by Fauvism. Chen’s paintings are known for their bold, flamboyant strokes and sensitive, harmoni-ous colours. Like most Southern Chinese artists, Chen’s works are light-hearted and circulate around an aesthetic discourse of birds, flowers and rivers. It is evident that he is influenced by French classics with an emphasis on colour, deft brushstrokes and soft composition. In the paper works of Jia You Fu from Hebei province, the colour-ful oil compositions of the artist have been achieved with sombre, majestic inks. Specialising in landscape paintings, Jia’s works are inspired by the grandeur of the Taihang Mountains, and are particularly noted for their technical treatment of modulating ink tones. Jia is renowned internationally for his skills in splashing, accumulating and breaking up ink (using colour

to break water, vice versa). Typical of the Northern Chinese style, Jia focuses on tall, austere moun-tains with dull colours, portraying magnificence, and overwhelming grandeur rendered with strong, determined brushstrokes. Heng Artland’s upcoming exhi-bition, titled Myth, Paper Brides, looks at the line connecting artist Zhang Qiang and his student Zeng Chuanxing. Zhang depicts the traditional female form in mythical themes, using delicate brushstrokes with soft, light finishes that add to the fantastical beauty of his female protagonists. Viewers are treated to a visual spectacle, wondering how Zhang uses Western techniques of oil on canvas to express traditional themes and stories, at the same time achieving the soft, smooth lines that are characteristic of ink on rice paper works. On the other hand, Zeng’s crisp determined strokes paint brides in paper gowns, repre-senting the fragility and uncertainty of modern marriages. The realistic portrayals of brides contrast with the fantastical notion of them wear-ing paper gowns and this represents Zeng’s departure from his teacher’s fantasy creations.

31

ART LANDS China

New Freehand Chinese Ink Painting runs from 15 July - 25 September at The Luxe Art Museum, 6 Handy Road, Singapore.Myth, Paper Brides runs from 23 -29 August at The Arts House - Gallery, thereafter 30 August - 11 September at Heng Artland #04-08 @Paragon, Singapore.

STORY

32 TPAG | Sept 2011

Kaboom and bust!Text by Remo Notarianni

VAROOM! (1963) – Roy Liechtenstein

Those who remember when caped comic book heroes

bounced off skyscrapers in three point perspective must be saying “Bleah!” these days, as they watch their children zap villains on a Nintendo DS. “The modern superhero needs major film funding to be able to fight anything,” said American comic artist and sculptor Digger T Mesch who has worked with companies such as Marvel. “Comic sales are dead. It’s all about getting that property on the big screen now.” Clark Kent may be doing extra shifts in the newsroom, perhaps as a part-time proofreader, with the realisation that the elegant frames his Superman took flight in were storyboards. If cinema is the only hope, what becomes of the art of comics itself? Comic art was once so everyday that American Pop artist Roy Liechtenstein made it a major theme of his work. Freeze-framed by Pop Art appreciation that puts form before content, with the same afterlife that Warhol gave to Camp-

bell Soup tins, the American comic book hero seems lifeless – but fallen heroes are sometimes part of the story. However, according to Hong Kong artist, writer and filmmaker Hongkaz Fung Hing-keung, comic sales have dwindled in Hong Kong, not only because of changes in the industry but also because the com-ic, which in American society may have been largely read by children, has lost its social significance. “Comics were once educators of traditional values about good and bad in Hong Kong,” said Fung who worked on comics such as Bruce Lee and Drunken Fist. “They were read by ordinary people looking for heroes who stood up to the hardships of life and these hard-ships were part of the economic challenges of the time.” The social hardships of the 1970s found visual representa-tion in the cultural symbolism of China’s Manhua, the equivalent term in Japanese being Manga. But with the 1980s a watershed period in Hong Kong’s economic develop-ment, the territory grew into the

33

Kaboom and bust!

WHAAM! (1963) – Roy Liechtenstein

34 TPAG | Sept 2011

entrepot it is known as. The comic stories of the seventies were full of physicality and kung fu dynamism that resonated at a visceral level. This graphic violence could have been cathartic to the average per-son engaged in a fight for survival. The immensely popular comic Little Rascals, which was first published in 1970 was a story about gangsters and triads in public housing estates. The iconography had Wuxia characteristics, but the graphic violence, which saw guts as well as blood spilled, led to government intervention and the Indecent Publication Law in 1975 banned Manhua comics. Tony Wong Yuk-Hang, who created and published the comic through his company Jademan Comics, sidestepped this by re-launching the story as Oriental Heroes. As the success of such comics continued into the 1980s, economic changes permeated the industry itself. “Hong Kong became wealthy in the 1980s and entertainment like comic books was popular among the nouveau riche,” said Fung who worked for Jademan comics but left comic illustration in the 1990s. “But as a lot of the manual labour and handicraft industries moved

across the border” said Fung to become a graphic designer. “Edu-cation became the benchmark of success, and people didn’t become comic artist apprentices anymore.” Wong faced stiff competition from the enormously successful A Chinese Hero: Tales of the Blood Sword, the story of a Chinese man embroiled in a world of gangsters and racial discrimination in the United States. But by the nine-ties, even its run had dropped from 200,000 to 60,000 copies per issue. Comic companies began to cut costs and a new generation of educated and globally-minded Hongkonger was interested in a very different, especially as the sons of the diaspora returned. The decline of the Hong Kong comic was inevitable as technology fragmented entertainment, but it signals a generation of people fight-ing for new things. Perhaps like Clark Kent, Hongkongers are now stuck in their offices, and the heroes they really need are people who can help them pay their mortgages or battle for universal suffrage. “In the 1990s.the values of people in Hong Kong changed, and the comics that were produced were out of pace with society,” said Fung. “Hong Kong Comics were still stuck in the 1970s and this caused people to turn away from them. The comic hero certainly needs to adapt to changing times especially if he or she wants to return to the page instead of move to the screen.”

STORY Kaboom and Bust!

“Hong Kong became wealthy in the 1980s

and entertainment like comic books was popu-lar among the nouveau

riche,” – Fung.

Hong Kong comics such as Little Rogues reflected the harsh reality of everyday life in the 1970s.

The comic Chinese Hero was popular in the 1980s and sales dropped in the 1990s.

35

GLIMPSE

36 TPAG | Sept 2011

Text and images: Duggie Fields

The space I inhabit, in one way or another, began to be photographed over 40 years ago. Pictures of it have been shown somewhere in a magazine, book, or exhibition of some sort every year since. Published in Australia, Russia, Japan, America, France, Holland, South Africa, Germany, and Italy; and filmed for television in the UK, Poland, Germany, France, America, Russia and Japan— it started being labeled “Retro” in the early 1970s, a “Gesamkunstwerk” by the mid ‘70s, and defined as “Post-Modern” in 1977.

Just Around The Corner

SELF PORTRAIT , Acrylic on canvas. 1977

LONDON ARTIST DUGGIE FIELDS HAS LIVED IN THE SAME EARLS COURT FLAT SINCE 1969. THE RESIDENCE

BECAME THE SETTING OF HIS LIFE AS HIS WORK WIDENED ITS HORIZONS.

37

Many attempts at self-definition later, in the mid-1990s, I for-mulated my MAXIMALism mini-manifesto. Co-existing with a creative entry into the vir-tual space of digitised computer-generated media came the words that attempted to fix the concept: MAXIMALism=minimalism with a plus, plus, plus. References sur-round and multiply both inwardly

and outwardly— they inform. Inspiration from many sources, the decay of the classical, romance of the ruin, the works/homes of artists such as Picasso, Dali, Matisse, Miro, Mondrian, Francis Bacon, Kurt Schwitters, many others, some conscious and some uncon-scious. They all echo from my mind into the space around.

MALCOLM, Digital image after 1971 canvas, 2007 YOSSY, Digital image 2007

38 TPAG | Sept 2011

GLIMPSE Just around the corner

My home, one of privileged exist-ence at a price, has kept me to this spot, sometimes wonderful, sometimes trapped. I have walked its floors for countless miles, for years breathed only its air, seen only its horizons— certainly spent the greater part of my life in this

enclosed, defined space, and most of that on my own. The need for solitude to create, to function, to work, has taken precedence ulti-mately over other domestic occu-pations—pleasures, “past-times”, relationships, and entertainments.

Theory, Acrylic on canvas, 60”x60” 1967

Faith, Acrylic on canvas, 68”x60” 1988

The photographs featured were taken on the artist’s mobile phone. From just around the corner in the local streets he has walked so often through the years, they have expanded with travel across London and back again, and again.

39

The definition of an ideology necessitates both speculative con-jecture and perceptual intuition of motivational impulses. On entering into virtual space, my working world expanded in ways and means unforeseen. Coming, with the crea-tive spread from the canvas and the home around, into areas of music

production and animation, devel-oped from spheres of influence and input into unexpected combina-tions of work/play. Physically, the virtual world offered more space, forced me to learn new tools, new techniques, and to expand from the confined ‘real’into it. In the process, I was ‘Maximalised’.

Tree of Life, Digital image 2001, acrylic on canvas 84”x84” 2001

ON THE TOWN (HISTORY PAINTING), Digital image 2000, commission for TRANSPORT FOR LONDON

http://www.blurb.com/bookstore/detail/2060035

PORTFOLIO: Art Fairs

40 TPAG | Sept 2011

Timeless treasures for everyoneBy Bonnie E. Engel

Qiu Jie (b.1961) Summer Cool 2009, Pencil on paper 39.37 x 55.12 in (100 x 140 cm) Michael Goedhuis, London

41

Hong Kong’s Fine Art Asia (for-merly the HK International Art

and Antiques Fair) might appear to focus on antiques, but it has turned into something for everyone. This year’s event will most likely have treasures that appeal to a plethora of collectors – painting and other fine arts, furniture, antiques, pre-cious jewellery and silver, European or Asian objet d’arts, and collectors are presented with extraordinary choices. Contemporary Chinese paintings, sculptures and modern art each attract their type of spe-cialist collector and with the 80 ex-hibitors at the event some collectors may be spoiled for choice. In addition to the growing Hong Kong collectors group, there is strong evidence at the auctions and in the global art market that the new-ly affluent Mainland Chinese collec-tors are diversifying their interests in different areas of art quite quickly. Some are taking unexpected direc-tions, surprisingly collecting Impres-sionist and Modern Paintings, as seen at the 2011 Christie’s and So-theby’s auctions and Seoul Auctions in Hong Kong. European Silver, Eu-ropean furniture and objet d’arts of all kinds are proving popular as well. Arguably, this has taken the focus of the fair beyond antiques. The amazing array of museum-quality exhibits will range from ancient Chinese stoneware, Hima-

Chinese chair single. 2001, Property from the Estate of Virginia Carroll Crawford, Lot 90. Carlton Hobbs, New York

Aquamarine and Ruby Belt with a

Buckle Necklace. Designed by Fulco

Duke of Verdura, for Paul Flato

New York, c.1935. Siegelson, New York

PORTFOLIO: Art Fairs

42 TPAG | Sept 2011

Camille Pissarro (1830-1903) Paysannes Ramassant des Herbes, Eragny (Peasant Women gathering hay, Eragny). Signed C. Pissarro and dated 1886, Oil on canvas, 15 x 18 1/8 in/38 x 46 cm Gladwell & Company, London

43

A Rare Carved Polychrome Lacquer Octagonal Dish of a Winged Dragon, Ming Dynasty, Jiajing mark and period, 20 cm. Martin Fung Ltd, Hong Kong

Turban brooch. Made in 1911. Lucas Rarities Ltd, London

layan bronzes, Chinese ceramics and works of art, furniture, textiles and jade, to fine jewellery, antique silver and exceptional modern and contemporary artworks from Asia, Europe and America. Hong Kong galleries such as Grotto will bring contemporary Hong Kong artists’ work to the fair. The Sundaram Tagore Gallery brings an eclectic mix of Asian, European and Indian works, while one of Hong Kong’s oldest galleries, Plum Blossoms, exhibits contem-porary Chinese artists. The 2011 fair has already at-tracted major Western dealers, such as Mallett from London and Carl-ton Hobbs from New York, the top antique silver dealer in the world, Koopman Rare Art, plus several leading galleries from Paris as well as many galleries from around Asia. The sheer diversity of the exhibitors demonstrates the power of this Fine Art Fair. Leading international dealers returning to Fine Art Asia 2011 in-clude Michael Goedhuis (London), Robert Hall (London), Rossi & Rossi (London), Robert Kleiner (London), Sundaram Tagore (New York, Bev-erly Hills and Hong Kong), Kai-Yin Lo (Hong Kong), Somlo Antiques

(London), Teresa Coleman Fine Arts (Hong Kong), Jacqueline Sim-cox (London), Nicholas Grindley (London), MD Flacks (New York) and Galerie Dumonteil (Paris and Shanghai). New renowned dealers attend-ing the fair this October include Veronique Bamps (Monaco), Rob-ert Bowman Gallery (London), Lit-tleton & Hennessy Asian Art (Lon-don, New York), Priestley & Ferraro Chinese Art (London), Gioia (New York), Siegelson (New York), F2 Gal-lery (Beijing), Waterhouse and Dodd (London), Berwald Oriental Art (Lon-don), Da Peng Ge (Beijing) and Wui Po Kok (Hong Kong) are among the 80 exhibitors. Contemporary art dealer Sunda-ram Tagore, who has supported Fine Art Asia since its inception in 2006 said, “I have participated in this fair for many years. I believe this is the most important and beauti-fully presented fair in Asia and that is why it is billed as the ‘Maastricht of Asia’”. Fine Art Asia, held annu-ally during the peak art season in October, takes place concurrently with Sotheby’s auctions, both at the Hong Kong Convention and Exhibi-tion Centre. In 2011, the fair dates are from 3-7 October.

PORTFOLIO: Market Voices

44 TPAG | Sept 2011

Andy Hei is the founder and the Fair Director of Hong Kong’s

Fine Art Asia (formerly HK Interna-tional Art and Antiques Fair). In re-cent years the event has included modern as well as classical works of art, making it one of the most comprehensive art fairs in the re-gion. Hei talked to TPAG about the inspiration behind the art fair and why it is important that it reflects a range of collectors in a changing market.

TPAG: How did the HK Interna-tional Art and Antiques Fair start?I took over my father’s classical

Chinese furniture dealing business more than 20 years ago. I initiated and organised the first annual Hong Kong International Asian Antiques and Arts Fair in 2006. Before that, such arts fairs were only small scale, one off events. Many of them happened in Hong Kong during the early 1980s and 1990s.

TPAG: What is the attraction of the antiques business in the 21st century? Antiques are known for retaining value, and maintaining a consist-ently stable rise in value. I noticed a rise from 10 percent to 20 percent

By Remo Notarianni

Where the classical world meets the modern age

45

during the end of 1990s, and began to see a massive upsurge after the year 2000. The antiques world was engulfed by a frantic new wave of buying of goods such as Chinese calligraphy, Chinese ceramics, Jade. This has never happened be-fore and modern and contemporary art is a part of it.

TPAG: What are the factors driv-ing the market at the moment?The trading of arts (especially in antiques and old master’s art) is in huge demand, and this is due to a bunch of new collectors buying for investment purposes. An art fair is a perfect event to attract collec-tors, connoisseurs, dealers and art lovers from around the world. Fine Art Asia takes place during the au-tumn art auction season. The timing is advantageous for attracting peo-ple. Besides, Hong Kong is an ideal place because of its location and there are tax benefits.

TPAG: Why was the fair renamed Fine Art Asia in 2010?The HK International Art and An-tiques Fair was renamed Fine Art Asia because this name reflects the diversity at our art fair. This year, 50 percent of the exhibitors show-cased antiques and ancient arts, and 20 percent showcased fine art jewellery and priceless antique watches, 15 percent showcased

Impressionist and Modern Art, and another 15 percent exhibited Con-temporary Art. Our exhibitors are worldwide and an immense variety is guaranteed.

TPAG: In your experience, where is the new buying power in the art market?Exhibitors and gallery owners are coming to the East in droves, they looking to expand new markets. Actually, there is a great new buy-ing power from mainland china that gradually engulfs the art mar-ket within ten years in Hong Kong. In our field, the suppliers are come from mainland during the ‘70s to the end of ‘90s. The majority buy-ers come from Europe and America. After the year 2000, the mainland consumers increasingly spend their money in the art market.

TPAG: How is Fine Art Asia help-ing to nurture young talent in Hong Kong?Yes, we work closely with the Fine Arts Department of the Chinese University of Hong Kong, helping to nurture young local talents. Every year we offer a free booth to the upcoming fine art graduates of the Chinese University of Hong Kong. We want to encourage them to sell their art, and develop their careers as artists. There will be prospects for them in the future.

PORTFOLIO: Business Model

46 TPAG | Sept 2011

Text: Remo Notarianni

Unpacking the ‘White Cube’

47

When Irish artist Brian O’ Do-herty wrote his seminal 1976

book Inside the White Cube, he de-scribed the gallery as a sanctimo-nious, self-contained universe that moulds surroundings into a frame for the art on display — making the space an integral part of the creation. The process of buying art rests more on the seductive lure of the object than the persuasion of its salespeople. Art sellers are knowl-edgeable communicators of aes-thetics and messages but with recent changes in the business, the space that has traditionally sur-

rounded an art piece has taken on bold transformations; and these could either enhance or diminish the concept of the White Cube. “Especially with regard London and New York, two cities that are close to each other, I feel that the conventional form of bricks and mortar galleries is fading out,” said Sundaram Tagore, of Sundaram Tagore Gallery, which has branches in Hong Kong, New York and Bev-erly Hills. “Technology has changed the process of art trading, and the Internet and art fairs have become important pillars of business.” Whatever the implications might

Inside The White Cube: The Ideology of the Gallery Space, published in 1976, was written by Brian O’ Doherty

48 TPAG | Sept 2011

be for space, in recent years, gal-leries are evidently looking beyond bricks and mortar. Unlike those that went online in the dotcom bubble and that may have met the same fate as other doomed URLS, this trend is being leveraged by new art buying opportunities. Eyestorm is a UK-based gallery that collapsed soon after it opened in 2000 and returned as a ‘clicks and mortar’ gallery for a period, but its ill-fated story made it a guinea pig for more successful ventures. The obvious lure of any web-based business is the reduction of overheads and the establishment of print-on-demand technologies has brought products closer to con-sumers. In the case of Eyestorm, and the galleries that followed suit like the German Lumas, the selling point was making art affordable and within range of a new demographic. Eyestorm, which began in 1999, sells lambda prints of artists such as Damien Hirst and Rob Ryan for af-fordable prices. “Onlinegalleriesareabletofind,expose, represent and co-ordinate sales for artists all over the world,” said Laura Thomas of the Hong Kong-based company Future Indus-tries. “Because of this, they enable buyers to access a much greater range of ‘affordable art’ - which is currently the most lucrative sector in

the marketplace. Although this may changeasconfidence in theonlinemarketplace grows, and it might not be long before the presence of a gallery is as important as its physi-cal presence, the current success of the online gallery lies more with the fact that it is able to make ‘af-fordable art’ more available than the ability to make art in general more affordable.” Some well-established galleries, such as America’s Galleries Maurice Sternberg, have moved completely online, and this may be because of prevailing economic uncertainty. But the question remains whether the online world can facilitate the gal-lery’s vision of an environment that is conducive to art appreciation and help the audiences to engage the art itself- which ultimately sells itself. “I am not averse to the concept andindeedwesellasignificantpro-portion of our works by internet,” said Giorgio Pilla of Singapore’s Red Dots Gallery. “However, I hope that as technology improves and virtual tours increase, it is not at the ex-pense of bricks and mortars galler-ies. People have less and less time and collectors love and need an easy,quickplacetoperuseandfindthe best of the best – replacement for art fairs but for new art buyers the ability to see, feel and immerse should not disappear – it is a fun-

PORTFOLIO Unpacking the ‘White Cube’

“I hope that as technology improves and virtual tours increase, it is not at the expense of bricks

and mortars galleries.” - Giorgio Pilla

50 TPAG | Sept 2011

damental part of the process of un-derstanding art which online galler-ies cannot and will not be able to replace.” It is this absorption, and the call for artwork-enhancing technol-ogy, that throws down the biggest gauntlet to the online world. Tearing down the walls may have advantag-es and it clears up arguments about the ‘snobby’ exclusivity of certain art pieces to collectors, but keeping the relevance of ‘the White Cube’ as it goes online will turn out to be a challenge, and it could continue to serve as an interesting barometer.

“Unshadowed, white, clean, ar-tificial, the space isdevoted to thetechnology of aesthetics,” wrote O’Doherty. “Works of art are mount-ed, hung, scattered for study. Their ungrubby surfaces are untouched by time and its vicissitudes. Art ex-ists in a kind of eternity of display, and though there is lots of “period” (late modern), there is no time. This eternity gives the gallery a lim-bolike status; one has to have died already to be there. Indeed the pres-ence of that odd piece of furniture, yourownbody,seemssuperfluous,an intrusion.”

PORTFOLIO Unpacking the ‘White Cube’

SPACE

52 TPAG | Sept 2011

Art Jog 1 1By Bharti Lalwani

Taking charge at

“Luz” by Eddie Prabandono

53

Imagine an art fair without brand-ed galleries or ambitious dealers

jostling for booth space. Sounds like an installation in its own right, doesn’t it? It’s a simple concept, executed in a way which clearly distinguishes it from other art fairs or exhibitions, but Art Jog began as an ‘annex’ of the Yogyakarta Arts Festival in 2008 which then splintered into a separate event called Jogja Art Fair in 2009. It soon realised its poten-tial in becoming an international art festival and changed its name to Art Jog. This year it ran from 16-29 July. Now in its fourth edition, the only artists’ art fair, albeit low key, in the region brought its audience a variety of works by artists, both well-known and new, from Jogja, Bandung, Ja-karta, Bali, and a number of other small towns. They experiment in mediums such as video, sculpture, installation, mixed media and paint-ing – especially painting which is alive, well and thriving. Under the artistic direction of Bambang Toko Witjaksono (also an artist and lecturer), the Taman Bu-daya Yogyakarta or TBY building became a centre for uninhibited ex-perimentation. Quite unbelievably, a large chunk of the concrete court-yard in front of the building was dug by at least six feet in order to accommodate a 700-tonne clay site specific sculpture. The sculpture in question was executed by artist Eddie Prabandono. At four metres high, the clay was shaped, scraped and smoothed to the likeness of his five-year-old daughter Luz as part of

the Luz Series. Eddie whose diverse background includes garden de-sign, has been using clay and pad-dy as a medium for his large-scale creations. The use of clay moulded to the likeness of a child signifies the Earth as a living, breathing being which, when left to the natural ele-ments dries, cracks and dissolves into oblivion – living on as a lingering memory in the minds of those who have seen it. With such a poetic start, Art Jog continued to surprise with an array of works so varied in theme and approach that they took on a life of their own. Balinese artist Krisna Murti, very much considered the pioneer of video art in Indonesia, conceptualised an ambiguous sce-nario in which Muslim women, pro-jected side by side, dressed in dif-ferent hijabs, responded differently to the same commands signalling how pluralism is under threat in to-day’s climate. The row of women in the video is also reflected in a shal-low pool of water, and this adds to the installation aesthetically and conceptually. A “Special Presentation” fea-tured an interactive piece by art-ist Ay Tjoe Christine who put forth a couple of self-assembled type-writers, meaning the body of the typewriters was tweaked by add-

“Jogja is full of artists, so why not have an

artists’ fair!” - Bambang Toko Witjaksono, Curator ArtJog’11

SPACE

54 TPAG | Sept 2011

ing other unknown wires and ma-chinery, with aluminium foil affixed to the paper table instead of paper. Audiences were encouraged to par-ticipate in the installation by typing onto the foil and adding their own imprint onto the artwork. Works by the better-known Indo-nesian artists such as Handiwirman Saputra, I Nyoman Masriadi, Jumal-di Alfi, Heri Dono and Rudi Mantof-ani were also on display alongside newer, and lesser-known artists. Art Jog, at first glance, may have looked like any other artists’ exhibi-tion but on closer examination the fair does stand out with afew dif-ferences such as the fact that most works were for sale unabashedly and directly to a new hub of collec-tors who have been recently culti-vating their tastes. With the pretence of a “curated for gallery-typeshow” out of the way, artists put up work which was far more uninhibited, experimental and even fun! This also puts the artists in charge as opposed to de-pending on galleries;various new artists who have never been shown elsewhere before, let alone have a gallery represent them, can benefit from such a platform to showcase their art. However, due to certain con-straints, not all the works could be shown. Out of 3,500 submissions from 1,770 hopefuls, only 251 paint-ings, sculptures, installations and videos from 165 artists were cho-sen. The catalogue, though, pro-

vides a complete overview of every project, sketch and rendition sub-mitted for Art Jog. Art Jog curator, Bambang Toko, emphasised that the fair is very much in its infancy and that there are several challenges to tackle – the first and foremost being the lack of government support and fund-ing. But Indonesian artists are no strangers to this— a fact that has always led them to depend on pri-vate collectors. Dr. Oei Hong Djien, who has been a long time collector and patron of the arts is supporting Art Jog along with other collectors such as Deddy Kusuma and Sunar-jo Sampoerna and senior artists at the helm. In fact some of the art on display was lent to the exhibition by these senior artists and collectors. Toko also organised a forum of curators and artists, with former Art Basel Director Lorenzo Rudolph who shared his experiences with art fairs such as Basel, Shanghai and Art Stage Singapore and how Art Jog could possibly position itself in relation to the international art market. Although this was a closed forum, “next year”, he said, “we will be better organized and such fo-rums will be open to the public.” It was a relatively low key event this year, but its ambition is to in-sert itself into the calendar of well-attended international art fairs in the near future, so it will be extremely interesting to see how Art Jog ma-tures and maps itself over the next few years.

With the pretence of a “curated for gallery-typeshow” out of the way,

artists put up work which was far more uninhibited, experimental and even fun!

“Weight Scaler” by Budi Kustarto

“Gold Scooter” by Ashley Bickerton

“Transform in Secret Factory” by Recycle Experience

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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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TPAG March 2011.pdf 1 2/17/2011 12:29:33 PM

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Tanjong Pagar, Chinatown & Raffles Place Singapore Art Museum Area

Esplanade & Marina Bay Sands

1 iPreciation, The Fullerton Hotel

2 Utterly Art

3 Galerie Sogan & Art

4 Indigo Blue Art

5 Cham Hampe Galleries @

Tanjong Pagar

6 DreamSpace Art Studio

7 Art Commune Gallery

8 Galerie Belvedere

9 Galerie Steph

10 Ikkan Art International

11 ReDot Fine Art Gallery

12 Valentine Willie Fine Art

1 The Substation

2 Art Plural Gallery

3 Art Trove

4 Yavuz Fine Art

5 The Private Museum

6 M Gallery

7 Forest Rain Gallery

8 The Gallery of Gnani Arts

9 Sculpture Square

10 Art Galleries @ NAFA

11 The Luxe Art Museum

12 Yisulang Art Gallery

1 Ode To Art

2 Opera Gallery

3 Art Science Museum

4 The Asian Civilisation

Museum

5 The Arts House

6 Gallery NaWei

7 Ode To Art

8 Chan Hampe Galleries

9 Cape Of Good Hope

Art Gallery

10 Art-2 Gallery

11 S.Bin Art Plus

12 Y2Arts

13 Gajah Gallery

14 Tembusu Art Gallery

15 ArtXchange Gallery

16 Artfolio

GALLERY SPOTTED LegendArt Trove Gallery 51 Waterloo Street #02-01/2/3Singapore 187969

T: +65 6336 0915 F: +65 6336 9975

E: [email protected] W: www.art-trove.com

Opening HoursWed- Sun: 11am to 6.30pmCall for private viewing

MRT Station

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ION Orchard Mall

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Paragon Shopping

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Mandarin Orchard

Singapore

Jalan Merah Saga

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on

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Singapore

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edon

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psey

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Tanglin Mall

Regent Hotel

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ION Orchard Mall

Shaw Centre

Tangs Plaza

Paragon Shopping

Centre

Mandarin Orchard

Singapore

Jalan Merah SagaLe

edon

Dem

psey

Rd

Tomlinson Rd

Cuscaden Rd

Cuscaden Rd

Angu

llia P

ark

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Loewen Rd

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Holland Village

Orchard Road

Dempsey Hill Tanglin Road

1 Sunjin Galleries

2 Taksu

1 Linda Gallery

2 Red Sea Gallery

1 The Gallery of Gnani Arts

2 GJ Asian Art

3 Bruno Gallery

4 Boon’s Pottery

5 HaKaren Art Gallery

6 ZiJuan Art Gallery

7 Mulan Gallery

8 Yang Gallery

1 Pop and Contemporary

Fine Art

2 Gallery Reis

3 Art Space @ Scotts

4 Opera Gallery

5 Heng Artland

6 Sin Hua Gallery

7 M.A.D Museum of

Art & Design

8 Vue Privée

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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TPAG March 2011.pdf 1 2/17/2011 12:29:33 PM

62 TPAG | Sept 2011

art directories

Singapore Galleries in alphabetical order

Art Trove51 Waterloo Street, #02-01, Singapore 187969v +65 6336 0915Y [email protected] - Sun: 11am-6.30pm

ARTXCHANGE Gallery6 Eu Tong Sen Street, #02-65, The Central, Singapore 059817v +65 9027 3997Y [email protected] - Sat: 11am-9pm

Boon’s Pottery91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918v +65 6836 3978www.boonspottery.comDaily: 11am-6pm. Closed on Public Holidays

Bruno Gallery91 Tanglin Road, #01-03 Tanglin Place, Singapore 247918v +65 6733 0283Y [email protected]: Tue - Fri: 10am-7pmWeekend: Sat & Sun 11am-8pmClosed on Monday

Cape of Good Hope Art Gallery140 Hill Street, #01-06, MICA Building, Singapore 179369v +65 6733 3822Y [email protected]: 11am-7pm

Chan Hampe Galleries @ Raffles Hotel328 North Bridge Road, #01-04, Raffles Hotel Arcade, Singapore 188719v +65 6338 1962www.chanhampegalleries.comDaily: 11am-7pm. Closed on Public Holidays

Chan Hampe Galleries @ Tanjong Pagar21 Tanjong Pagar Road, #04-02, Singapore 088444v +65 6222 1667www.chanhampegalleries.comWeekdays: 10am-6pmWeekends: 11am-4pmClosed Wednesday and Public Holidays

Forest Rain Gallery261 Waterloo Street, #02-43/44, Singapore 180261v +65 6336 0926Y [email protected] - Fri: 11am-7pm; Sat - Sun: 11am-5pm.

The Gallery of Gnani Arts1 Cuscaden Road, #01-05, The Regent, Singapore 249715v +65 6725 3112Y [email protected] - Sun: 11am-7pm

62 Singapore Galleries 64 Art Auctioneers 64 Museums / Art Services 65 Conservation/Restoration 65 Art Schools / Artist Studios 66 Hong Kong Galleries 66 Other International Galleries 66 Art Fairs 67 TPAG Art Tours HK 68 TPAG Classifieds

63

Indigo Blue Art33 Neil Road, Singapore 088820v +65 6372 1719/38Y [email protected] - Sat: 11am-6pm

Ken Crystals6 Eu Tong Sen Street, #03-72, The Central, Singapore 059817v +65 6339 0008Y [email protected] - Sat: 11am-7pm; Sun: 1pm-5pm.

Muse The Art Gallery4 Toh Tuck Links, Unit 01 – 01 Singapore 596226v +65 6762 6617Y [email protected] - Fri: 8.30am-5.30pm

OVAS Art Gallery9 Penang Road, #02-21 Park Mall, Singapore 238459v +65 6337 3932www.ovas-home.comDaily: 11.30am-8.30pm

Pop and Contemporary Fine Art390 Orchard Road, #03-12 Palais Renaissance, Singapore 238871v +65 6735 0959Y enquiry@popand-contemporaryart.comwww.popandcontemporaryart.comTue - Sat: 11.30am-6.30pm; Sun: 12noon-5pm

Galerie Sogan & Art33B Mosque Street, Singapore 059511 v +65 6225 7686Y [email protected] - Sat: 12noon-7.30pm; Sun: 2pm-5pm

Sunjin Galleries43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115v +65 6738 2317Y [email protected] - Fri: 11am-7pm; Sat: 11am-6pm

Established in 2000, Sunjin has built a strong reputation representing some of the leading and most sought after artist in the region. The Gal-lery has also actively identified and promoted new talents, introducing new and exciting names for the art buying public to invest in. Recently, at the 11th Beijing International Art Exhibition in 2008, the gallery was awarded by the Ministry of Culture PRC a certificate recognising the gallery as one of the “Top 10th most influential galleries of 2008”.

Utterly Art 229A South Bridge Road, Singapore 058778v +65 6226 2605Y [email protected] - Sat: 11.30am-8pm; Sun: 12noon-5.30pm

Yisulang Art Gallery6 Handy Road, #01-01, The Luxe, Singapore 229234v +65 6337 6810Y [email protected]://yisulang.comTue - Sun: 11am-7pm

64 TPAG | Sept 2011

art directories

Art Auctioneers

Museums

Conservation / Restoration

Art SchoolsThe Luxe Art Museum6 Handy Road, #02-01, The Luxe, Singapore 229234v +65 6338 2234Y [email protected] - Sun: 11am-7pm

Singapore Art Museum71 Bras Basah RoadSAM at 8Q8 Queen Street

National Museum of Singapore93 Stamford Road, Singapore 178897

National University of Singapore Museum (NUS)University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279

m’a ARTSv +65 8611 5280Y [email protected] & Installation of Art Works and other Art related services.

Ray’s Transport & Servicesv +65 9152 2511Y [email protected] Installa-tion & Delivery Services.

Santa Fe Art Solutions v +65 6398 8518 M: 9758 8294Y [email protected] services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.

Art Services

PIA Preserve in Aesthetics63 HillView Avenue, #02-06B, Lam Soon Industrial Building, Singapore 669569v +65 6760 2602 / +65 9118 7478Y josephine@

thepiastudio.comwww.thepiastudio.com

Specialised in Paper & Book Con-servation. Art Preservation, Conser-vation and Restoration.

LASALLE1 McNally Street

Nanyang Academy of Fine Arts38/80/151 Bencoolen St

The Singapore Tyler Print Institute41 Robertson Quay

Christie’s Hong Kong Limited22/F, Alexandra House, 18 Chater Road, Central, Hong Kong

Black Earth Auction367 Joo Chiat Road, Singapore

Borobudurwww.borobudurauction.com

Larasati30 Bideford Road #03-02,Thong Sia Building, Singapore 229922

65

Chieu Sheuy Fook StudioStudio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985v +65 9669 0589Y [email protected]

DreamSpace Art Studio艺术创作，专业绘画教育。19 China Street, #03-04/05 Far East Square, Singapore 049561v +65 9168 7785Y [email protected]

Foundation Oil Painting (Conducted by Mr Wee Shoo Leong)155 Waterloo Street, #01-04, Stamford Arts Centre, Singapore 187962v +65 9726 2028www.foundationoilpaintingclass.com

Artist Studios Koeh Sia Yong 许锡勇10 Kampong Eunos, Singapore 417774v +65 9671 2940Y [email protected]/koehsiayongwww.koehsiayong.artfederations.com

66 TPAG | Sept 2011

art directories

Hong Kong Galleries Art Fairs

Blue Lotus GalleryWah Luen Industrial Building, 15-21 Wong Chuk Yeung Street, Fotan (N.T., close to Shatin)

Belgravia Gallery12/F Silver Fortune Plaza, 1 Wellington Street, Central, Hong Kong

Karin Weber GalleryG/F, 20 Aberdeen Street Central, Hong Kong (Close to Hollywood Road)

Koru Contemporary ArtHing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong

Affordable Art Fair Singapore18 – 20 November 2011www.affordableartfair.sg

Art Stage Singapore12 – 15 January 2012www.artstagesingapore.com

Hong Kong International Art Fair (ART HK)17 – 20 May 2012www.hongkongartfair.com

Fine Art Asia3 – 7 October 2011www.fineartasia.com

China International Gallery Exposition (CIGE)April 2012www.cige-bj.com

Shanghai Art Fair14 – 18 September 2011www.sartfair.com

Art Revolution Taipei22 – 25 March 2012www.arts.org.tw

Art Expo Malaysia28 Oct – 1 Nov 2011www.artexpomalaysia.com

Art Fair Tokyo29 – 31 July 2011www.artfairtokyo.com

Contemporary Istanbul Art Fair24 – 27 November 2011www.contemporaryistanbul.com

Art Dubai21 – 24 March 2012www.artdubai.ae

Flo Peters GalleryChilehaus C, Pumpen 8, 20095 Hamburg, Germanyv +49 40 3037 4686Y [email protected]

GALERIE CHRISTIAN LETHERTAntwerpener Strasse 4D - 50672 Köln (Cologne) Germany

Alan Cristea Gallery31 & 34 Cork Street, London W1S 3NU

White Cube48 Hoxton Square, London N1 6PB

L & M Arts45 East 78 Street New York 10075

Get listed with TPAG. Gallery listing Package: SGD700 (per annum) inclusions of one image, address, contact details & operating hours and gallery description. Standard listing: SGD500 (per annum) inclusions of address, contact details and operating hours. Email us for sales form at [email protected]

International

will launch TPAG Art Tours.

This brings art lovers from around the world toHong

Kong’s art scenes, art exhibitions, events and activities. Participating

galleries, artists, companies and organisations have a chance to showcase their

venue and artists.

Please join us and email to remo@thepocketartsguide.

com to sign up the Hong Kong Art Tours.

67

TPAG Art Tours: HK 香港艺游

1 Simone Boon’s Studio Unit17, 9/F, block B,

Wah Luen Industrial Centre,15-21 Wong Chuk Yeung Street, Fotan, NT.新界火炭黄竹洋街15-21 号华联工业中心B座9楼17室www.simoneboon.comY [email protected] 852-60120363

2 Belgravia Gallery, Hong Kong

19th Floor, Silver Fortune Plaza1 Wellington Street, Central中环威灵顿街1号荊威广场19楼www.belgraviagallery.comY [email protected] v 852 -9222 7315Viewings by appointment only.請預約參觀

3 Hong Kong Heritage Museum香港文化博物館

1 Man Lam Road, Shatin, NT新界沙田文林路1号www.heritagemuseum.gov.hkv 852-21808188

4 Hong Kong Museum of Art香港艺术馆

10 Salisbury Road, Tsim Sha Tsui, KLN 九龙尖沙咀梳士巴利道10号 www.hk.art.museumv 852-27210116

5 Hong Kong Cultural Centre香港艺术中心

10 Salisbury Road, Tsim Sha Tsui, KLN 九龙尖沙咀梳士巴利道10号 www.icsd.gov.hk/CE/CulturalService/HKCCv 852-27342009

6 Hong Kong Arts Centre香港藝術中心

2 Harbour Road, Wan Chai, HK香港湾仔港湾道2号www.hkac.org.hkv 852-25820200

7 Fringe Club 艺穗会2 Lower Albert Road, central,

HK 香港中环下亚厘毕道2号www.hkfringeclub.comv 852-25217251

8 Flagstaff House Museum of Tea Ware 茶具文物馆

10 Cotton Tree Drive, Central, HK香港中区红棉路10号www.lcsd.gov.hk/CE/Museum/v 852-28690690

9 Swire Island East太古港岛东艺游

18 Westlands Road, Island East, Hong Kong香港港岛东华兰路18号港岛东www.swireproperties.comv 852- 28445095

10 Jockey Club Creative Arts Centre

赛马会创意艺术中心30 Pak Tin Street, Shek Kip Mei, KLN, HK 九龙石硤尾白田街30号www.hku.edu.hk/jccacv 852-23531311

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Blue City by A. Eugene Kohn, 30.5 x 23 cm

68 TPAG | Sept 2011

TPAG classifiedsA r t w o r k • E x h i b i t i o n s p a c e • A r t l e s s o n s • A r t m a t e r i a l s

Oil on CanvasSize: 130 x 97 cmAsking price: EUR2,000Artist : Moroccan artist MohamedTahdaini’s abstract artwork has been exhibited globally. Contact: [email protected]

Space for hire

Space for hire

Title: Angelic Dissolve Medium: Oil on Canvas Size: 54 X 50 cm Asking price: EUROs 270 Artist: Dave Askew is a British abstract artist Contact: [email protected]

Title: Bar Girls Medium: Giclee print on canvas limted edition of 25. Size: 76 X 71 cm Asking price: price (prior to commission) US$550 on unstretched canvas or US$625 stretched on 1 1/2” thick stretcher bars, “gallery wrapped” or Stretched & Framed US$800 (shadow box ‘floater’ frame). Artist: American artist Jack Massey captures the power of the ordinary in his artwork.Contact: [email protected]

Our ad space offers an affordable way for artists to showcase their work. It is also a marketplace for anything that can facilitate the art world. For more information, email: [email protected].

Title: Bergen Rain Medium: colour pencils Size: 60 x 30 cm Asking price: EUR 250Artist: Yuka Matsuhashi is a Japanese illustrator and artist. Contact: [email protected]

The Pocket Arts Guide (Sept Issue)

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