The Pocket Arts Guide (November/December 2012)

TPAG / www.thepocketartsguide.com

NOV/DEC 2012 — ISSUE 36

INSIDE JOBNEW ART SPACES

AND ARRESTING IMAGES

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26PERSPECTIVESAll the World’s a Stage

38FRONTIERSSpectacle and Space

32ART LANDSMelaka

58SPACERaising the Platform

62INDUSTRIALAFTERLIFEYue Min Jun:Faces in the Crowd

64FEATUREWhen not in Rome...

10EDITOR’SLETTER

20IN THE FRAMETrooping the Colours

12ART WIRE

44DIALOGUESThe ContemporaryDiaspora

54PORTFOLIOSlowness and theLongevity of Fortune

50STATESOF THE ARTThe Changing Shapeof Abstract Art

70MAPArt galleriesin Singapore

74DIRECTORYLISTING

80ARTCLASSIFIEDS

CONTENTS

TPAG ISSUE 36 — NOVEMBER/DECEMBER 2012

EDITOR’SLETTER

Editor-in-ChiefRemo [email protected]

Art DirectorHerman [email protected]

ContributorsGladys Teo, Irina Bourmistrova,Richard Chua, Michèle Vicat,Ko Yin Man

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Dear Readers,

The November/December issue of the Pocket Arts Guide comes out duringan auspiciously busy period in the art scenes of Hong Kong and Singapore.It is not just that time of year when galleries attend art fairs and put onseasonal exhibitions. These vibrant hubs – for many years artistically anonymousand known primarily for finance – are starting to make a noise globally asAsia’s artists and art scenes join the arena.

I was recently asked to talk on a London-based radio station about the impactof the Asian art scene. It struck me that the world is feeling the vibe of what’shappening in Asia but is keen to understand the details at street level. Thatinterest also affirms the balance of local and global that TPAG has strived forand that we are becoming known for.

Asia has had an established art scene for a millennia so this is not altogetherhistorical, but I think the dramatic shift from the traditional to contemporarymarkets and the eclipsing of London and New York by Hong Kong in recentyears has been a mind-warping surprise, waiting to be understood.

Political experts might find a correlation between economic development andthis evolution of art and culture. It also signifies a certain type of democrat-ization. As artists find a voice, museums and galleries become more thannational cabinets of history and tradition. They come alive, and it’s the newand original ideas that make them flower. So the theme of this issue is newart spaces, and that also means the breaking down of barriers and revitalization.We look at the newly-opened Gillman Barracks in Singapore and Art Stagein 2013; and we also look at the political nature of Wang Yehan’s abstract art,the changing nature of performance art ,and the changing of status of Chineseartists.

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

On The Cover:Overground —Ewen Coates

Remo NotarianniEditor-in-Chief

SEE US ATAFFORDABLE ART FAIR BOOTH 2B–14[NEXT TO THE ENTRANCE]15—18 NOVEMBER 2012

SEE US ATAFFORDABLE ART FAIR BOOTH 2B–14[NEXT TO THE ENTRANCE]15—18 NOVEMBER 2012

Art investment company Collins &Kent International (CKI) is launchinga historical Picasso exhibition in HongKong – a VIP exhibition of one of thecollections of the artist’s greatest workson paper. It also offers unique insightson how to build a valuable collectionfor under HK$300,000. The ‘PicassoWorks on Paper’ collection comprisesof 42 rare pieces of art that include 30linocuts, seven lithographs, and fiveetchings that are being displayed forthe first time in their history.

Picasso on Paper15.10.12 — 30.11.12Collins & Kent Internationalwww.collinskentint.com.hkHong Kong

Sana Gallery presents new ideas andimages about the Middle East toSingapore. Its inaugural exhibition inthe city features the work of ThaerMaarouf and Semaan Khawam.Maarouf’s exhibited body of workincludes portrayals of concealedhuman figures and faces behind layersembedded with Jasmine flowers.Khawam’s paintings and stencil worksseek to explore human and societalconsequences of events occurring inSyria. His work is is bursting withsubtle elements drawn from graffitiart and poetic practices.

Kisses of an Enemy26.10.12 — 15.12.12Sana Gallerywww.sanagallery.comSingapore

ARTWIRE

In 2011, Singaporean artist Jason Limattended a ceramics artist-in-residenceprogramme in Ubud, Bali for six weeks.He encountered and interacted withan unspoiled Southeast Asian environ-ment that starkly contrasts with theclinical cityscape of Singapore. Thisexhibition is a visual celebration of hisBali experience embodied in the seriesFlowers of Ubud.

A Trip to Bali— Recent Works by Jason Lim4.11.12 — 18.11.12Goodman Arts Centrewww.goodmanartscentre.sgSingapore


Gods of Metal09.11.12 — 29.12.12Galerie Stephwww.galeriesteph.comSingapore

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This exhibition presents a series of 40original poster prints, known as“affiches” in French, titled ‘FrenchInfluence in the Russian Propaganda’from the collection of Lady Kyra Baez-Martell. These affiches of Russia,became collectible items. Theeffectiveness in delivering social andpolitical messages through the cartelpropaganda affiches was widely usedin the French Revolution. The Frenchinfluence in cartel expressionhas often been called avant-garde.

French Influencein Russian Propaganda30.10.12 — 27.11.12Alliance Francaisewww.alliancefrancaise.org.sgSingapore

In this exhibition, artist Joel Morrisonmakes intricate, complex sculpturesand drawings out of common objects.His sculptures are made from foundobjects such as plaster busts, weatherballoons, water bottles, and shoppingcarts, which he then casts into poly-morphous forms, and bright stainlesssteel. In Morrison's oeuvre, a quirkyconversation between a world ofhumour and the art-historical canonseems to be taking place.

Joel Morrison13.09.12 — 17.11.12Gagosian Gallerywww.gagosian.comHong Kong

Presented along with Saskia FernandoGallery of Colombo, this is the firstSingapore solo exhibition of SriLankan sculptor Prageeth Manohansa,who is known for his unique andcharming metal creations. Prageeth’ssculptures are mainly fashioned outof recycled scrap metal, into stunningmetal works of art. This transformationof cold forged metal into warmdelightful animal sculptures avoidssentimentality and demonstrates hisunique genius and creativity.

First Solo Exhibitionof French artist Bernar Venet26.09.12 — 24.11.12Art Plural Gallerywww.artpluralgallery.comSingapore

Bernar Venet unveils new sculpturalreliefs from his GRIB series, a con-tinuation of the wooden IndeterminateLines that were produced between1979 and 1983. The works were madeusing 35mm steel plates and they weretorch-cut by hand. The technique addsto the aesthetic irregularity of the‘scribbles’ and gives the works a roughcharacter that makes them moreaccessible than previous works.

ARTWIRE

Mach Mania:The David Mach Show22.11.12 — 12.12.12Opera Gallerywww.operagallery.comSingapore

This is an exhibition of David Machone of Britain’s best-loved artists anda renowned Scottish sculptor, install-ation and collage artist. Over the years,Mach has made his name turningeveryday items into mind-blowingfeasts of colour. Working with aneclectic variety of objects, his sculpturesare made from magazines, matchheads, car tires, bricks, scrap cars andubiquitous and everyday stuff that weknow but pay little attention to.

This exhibition by Hong Kong–basedFrench artist Cedric Maridet exploresperceptual understandings of spaceand definition. He appoints thetheoretical concept of transformingthe gallery space into a Wunder-kammer, a chamber of curiosity thatwas a fascinating portal of discoveryin the Renaissance period in Europefor things yet to be defined. ToMaridet this is an intellectual pointof departure, and an opportunity todefamiliarise and rediscover.

Distinct Factures:A Return from Langsdorff18.10.12 — 05.12.122P Contemporary Art Gallerywww.2p-gallery.comHong Kong

This exhibition features three ofKorea’s most active young artists -Dorothy M Yoon, Hayoung Kim andHyojin Park, and the works havebeen carefully selected by Londonand Seoul based, independentcurator and art consultant HeejinNo Skipwith of Bright Treasure Ltd.Ironic Mythologies presents threevisual languages created by talentedfemale artists to convey their beliefs,fantasies and challenges in order todraw attention to and even questionseveral social taboos.

Ironic Mythologies: Dorothy Yoon,HaYoung Kim & Hyojin Park08.11.12 — 01.12.12Amelia Johnsonwww.ajc-art.comSingapore

This exhibition presents 50 blackand white marker drawings, createdbetween 2004 and 2007, by YayoiKusama, with an environmentalspread of 25 works, each of whichare limited edition silk screens oncanvas. The artist’s improvisationis deft, moving between abstractionand figuration. It also vibrantly butelegantly conveys her motifs: eyes,female profiles, and her characteristicpolka dot.

Yayoi Kusama: Love Forever02.11.12 — 20.12.12Ota Fine Artswww.otafinearts.comSingapore

This is a presentation of the worksof Chinese artist Zhu Xinyu, whoseconstruction of an imagined worldemphasizes atmosphere over details.Through these impressions he is ableto summarise disparate scenes usinga deft touch in which everything isframed without being mechanical.In this arrangement, the issues ofperception and recognition arestructured on a fundamental level bythe ability of the works to feel at oncefaint and bold.

Drunken House: Zhu Xinyu02.11.12 — 24.11.12Art Seasonswww.artseasonsgallery.comSingapore


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This exhibition celebrates the artisticindividuality and generosity of theReverend Song Nian on the 15thanniversary of his death. It willshowcase pieces from this creative andreligious master’s rich body of works,including several which he donatedto the national collection, along withseal carvings, The Reverend Song Nian(1911–1997), a native of Jiangsuprovince in China, was the abbot ofthe Mahabodhi Monastery in BukitTimah, Singapore.

Master Strokes:Works by Abbot Song Nian of theMahabodhi Monastery27.09.12 — 02.12.12Asian Civilisations Museum,Shaw Foyerwww.acm.org.sgSingapore

Lattitude/Attitude26.11.12 — 02.03.13Schoeni Art Gallerywww.schoeniartgallery.comHong Kong

Written Images: ContemporaryCalligraphy from the Middle East,curated by noted art historian Karinvon Roques is a first in the historyof Hong Kong galleries in the way itbrings together Iranian and Arabiccalligraphy. Artists including EgyptianAhmed Moustafa, Iraqi HassanMassoudy and Tunisian NjaMahdaoui were among the first tolook at writing from an entirely newperspective and reposition calligraphyin the contemporary context.

Written Images: ContemporaryCalligraphy from the Middle East20.09.12 — 04.11.12Sundaram Tagore Gallerieswww.sundaramtagore.comHong Kong

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DiverseCity 2012, is an annual artsshowcase by Singapore InternationalFoundation (SIF). This year, it featuresover 92 Singaporean artists and 108works they have shown in 90 cities.DiverseCity 2012 is a celebration ofthe diversity of Singaporean art andculture. A culmination of SIF’s workin bridging communities through itsSingapore Internationale grant,DiverseCity 2012, it will feature MingWong, Ho Tsu Yuen, Vertical Sub-marine, Robert Zhao, and ZakariaZainal.

DiverseCity 201216.11.12 — 02.12.12Singapore Art Museum at 8Qwww.sif.org.sg/diversitySingapore

Resolution of Reality02.11.12 — 16.12.12Singapore Tyler Print Institutewww.stpi.com.sgSingapore

This exhibition looks at a cross-section of the work of one of China’sgreatest 20th century abstract artists.The works on offer show the artist’stalent in combining Europeanaesthetics with China’s artistic andcultural forms. This is summed upby a combination of mysteriousabstract and eddying natural forms.The combination is showcasedpoignantly by this unique andgroundbreaking exhibition, in one ofHong Kong’s most cross-culturalgalleries and art venues.

Chu Teh Chun:Nature in Abstraction05.10.12 — 03.11.12De Sarthe Gallerywww.desarthe.comHong Kong

This exhibition of Joo Choon Lin’swork is a reflective look at forgottenelectronic gadgets from differentperspectives, demonstrating thetransience of technology. This site-specific installation at Third Floorexamines the odd relationship betweentechnology and nostalgia. Both arefundamentally incompatible conceptsby definition – technology has cometo represent change but nostalgia clingsto the past. Lin integrates the sensorialproperties of technologies once familiarbut now forgotten, and explores thereconciliation of these worlds.

In the past 20 years, Schoeni ArtGallery has been recognised a pioneer-ing force in the establishment ofcontemporary Chinese art. It isdelighted to present its 20th Anniv-ersary Exhibition entitled Latitude/Attitude. Curated by Huang Du, theHong Kong exhibition Latitudecomplements the Beijing exhibition,Attitude in September. The exhibitionwill be comprised of works from thecollection of Schoeni’s Late-FounderManfred Schoeni, of which hisdaughter and current Gallery DirectorNicole Schoeni, have added her .

This opening of a solo exhibition atLouis Vuitton Espace Singapore byartist Charwei Tsai, one of Asia’scelebrated young artists, presents aseries of intimate installations basedon ‘Water, Earth and Air’; it isexclusively curated by Eugene Tan.The artworks explore the manycomplex and mystical aspects of thesea. The work is a creative testamentof Tsai’s versatility and spiritualunderstanding. It is also anendorsement of his talent by one ofthe world’s biggest brands.

Charwei Tsai:A Dedication to the Sea15.11.12Louis Vuitton EspaceSingapore

Societe Generale PrivateBanking 2nd Rendezvouswith French Cinema05.12.12 — 09.12.12The Cathay and Alliance Francaisede Singapourwww.rendezvouswithfrenchcinema.sg

SingaporeHong Kong’s Kumquat Gallerywelcomes the Parisian gallery Pierre-François Garcier for an exhibition of20th century Swiss artist Jean Coulotwho epitomised the painting of histime. In this exhibition, a carnival ofvibrant colours conjures up the1960s—a time when colour in artresonated with the forces of life, andartists such as Matisse, were paintedonto the memories of a generation.In this exhibition, Coulot’stechnicolour celebrations of life liveon in the 21st century.

Jean Coulot: Colours of Life01.11.12 — 29.11.12Kumquat GalleryHong Kong

Societe Generale Private Banking 2ndRendezvous with French Cinemaenables audiences to experience thebest of French contemporary cinema.Featuring a new line-up of films neverbefore seen in Singapore, SocieteGenerale Private Banking 2ndRendezvous Cinema will also presentthe opportunity to meet with actorsand directors after the screeningsessions. The event will enable viewersto engage with the films on differentlevels.

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Pictures on paradeTo some it is a touchstone of culturethat spotlights and reinvigoratesheritage buildings amid soaringskyscrapers. In that sense, it heraldsa new era in which Singapore, ratherthan create conditions for art fairsand galleries to set up shop, also triesto make art a permanent part of thelandscape.

The artistic oasis in the urban fabric,may be a gesture of commitment,more sincere in its simplicity than thegrandiosity of Hong Kong’s WestKowloon Cultural District, which hasturned into a drawn out promise –nothing new in a city that has learnedto just get on with business withoutdepending on government.

According to Dr. Eugene Tan,Programme Director at the SingaporeEconomic Development Board, thebarracks is proof that governmentsupport in the arts can effectivelymake a difference when it comes tobuilding a scene.

Arsenal of talentThe architects and visionaries of theGillman Barracks’ transformationrecognise there is a unique experiencein combining art, military history andcolonial architecture. Its developer,JTC Corporation, working with theSingapore Economic DevelopmentBoard, and the National Arts Council,deliberately attempted to retain the1930s character of the barracks, whichwas originally founded for the Britishinfantry in 1936. Its logo was designedby young talents from different localschools and esteemed local contemp-orary art and design collectivePHUNK. It is a kind of art tourismventure in the way it includesrestaurants, a café and even a musicvenue (Timbre) and it also reachesout to people who are not so interestedin art.

According to some, the art scene isbeing engineered to a certain extentby being nurtured by the government,but Asian cities really are turning intomore than financial hubs, offeringmore than theme parks and rest-aurants. The Gillman Barracks is asolid fixture of art on the landscape.If it symbolises the government’scommitment to Singapore’s creativefuture, hopefully it will soon stashweapons of mass creation fromhome-grown talent that feels well-represented and honoured to be there.Clockwise from top:

Dumpsites (2012)—Vermont Coronel, stencil on canvas

Uji Handoko Eko Saputro

Rock of Ages — Edward Burtynsky

Self and the Other (2012) — Kawayan De Guia, mixed media

Model City Phase 2 (2012)— Mark Salvatus, printed cut-outs and wood

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The Drawing Room“The Gillman project sets itself apartbecause it provides one area of accessto contemporary art from all over, andat the same time this gathering ofcommercial venues are superimposedby an institutional, educationalplatform. To be part of this is to bepart of a structured hub in Singaporeon contemporary art that presents ourwork to a bigger market and a broaderaudience.

The artists that The Drawing Roompresents show a glimpse of contemp-orary practices in the Philippines today- artists investigating the shiftingterrains of places, the economics ofartistic production, the superimp-osition of traditional practices withcontemporary manoeuvres to themedium, and the cultural confluenceof the Philippines' colonial history. Wefeel that become very engaged to theworks when they gained perspectivethat they are from the Philippines.”

Cesar Villalon,Director

Ota Fine Arts“Many of the galleries in the GillmanBarracks have mostly internationalartists on their roster. Over the lastfew years, one of the central goals ofOta Fine Arts is to highlight theregional characteristics and common-alities unique to the Asian "culturalbelt" in our programmes. The Singa-pore art scene is indeed familiar withYayoi Kusama, since her participationin the first edition of the SingaporeBiennale in 2006.

This year, her worldwide status hasbeen shored up by her collaborationwith Louis Vuitton, and as Singa-poreans – like the Japanese – arealways avid shoppers, Kusama hasbeen receiving a great deal of attentionfrom the general public. For our firstshow, we chose to exhibit Kusama'slatest works as we would like tointroduce the public to other varia-tions of her aesthetic, lesser knownthan her signature motifs such as the‘infinity nets’ and polka dots.”

Yasuko Kaneko,Director

Art’s new front lineInternational galleries Sundaram Tagore, The Drawing Room and Ota Fine Arts are among the firstto set up in The Gillman Barracks. The galleries spoke of the opportunities the venue creates and itsplace in Singapore as a springboard for the entire region.

Sundaram Tagore“The Gillman Barracks is anexperiment in creating an Asianartistic hub. I would say importingan international artistic presence andcuratorial know-how is raising the barof artistic presentation in Singapore.We are introducing artists to Singa-pore, and while some of the artistsmay be new to them, many are worldfamous and the Singaporean audienceis already familiar with their work andtheir methodology to a certain extent.

With a large number of local andexpat collectors, a powerful collectorbase is taking shape in the city. I havebeen coming to Singapore for almosttwo decades now and I always knewthere was tremendous potential here.Now with the support of the govern-ment and with the formation of theGillman Barracks, we have been giventhe opportunity to help define theinternational artistic patina ofSingapore.”

Sundaram Tagore,Director

Transformers 1 (Spakol-Bukol) (2010)— Alfredo Aquilizan, stainless steel, LED lights

Yayoi Kusama art pieces in Ota Fine Arts gallery

Portrait of David Byrne by Annie Leibovitz

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ALL THE WORLD’SA STAGE

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Text: Remo NotarianniPhotos: Art Stage

In January 2013, Art Stage reaches its fourth edition. Every year,it has something different to offer and the landscape of Singaporeappears to change along with it. TPAG spoke to founder LorenzoRudolf on the origins of Art Stage, its developments and itsplace in a rapidly changing art world.

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Lorenzo Rudolf—I wanted to promote and develop Asia’s art market by giving the region a voicein the contemporary art world, and make it a truly competitive global player.I created Art Stage Singapore to bring the West to Asia and showcase the region’sbest artists and galleries. Singapore was the best location for the fair. It ispositioned at the crossroads of China, India, Southeast Asia, Australia andthe Arabian Peninsula. It is a leading financial centre, and it boasts excellentinfrastructure. The time was right, and I could not ignore this incredibleopportunity – to showcase fantastic art from across Asia, in a truly remarkablecity.

—We are the only major international art fair with a focus on Asian artists andgalleries, and in particular Southeast Asian art. About 80% of the galleries whoparticipate in Art Stage are from Asia; this is a very important ratio for us tomaintain. If visitors want to see Western art then they can go to any of the othermajor art fairs, but if they want to see the best Asian art, then they come to ArtStage. This is what sets us apart.

—In 2013 Art Stage will continue to support Singaporean artists and curatorswith the highly successful Singapore Platform. There will also be various ProjectStage exhibitions and a number of new initiatives, such as the IndonesianPavilion, the Australia market platform, and a new digital version of the faircalled Art Stage+. In fact, we want to encourage more Singaporean and SoutheastAsian galleries to participate in the fair. This is why we’re extending discountsacross the region, in the hope of incentivising wider participation by the bestgalleries. When visitors come to the fair in January, they will be seeing the bestart that Asia has to offer.

TPAG:—What was the inspiration behindArt Stage Singapore?

—What do you think sets Art StageSingapore apart from other majorart fairs in the region?

—How do you think Art Stageis evolving year by year?

Photos from Art Stage 2012

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—How is the layout of the fairshowcasing galleries?

Lorenzo Rudolf—The art scene in Singapore has developed rapidly over the past decade. TheEsplanade has just celebrated its 10th anniversary, the new National Galleryof Art is under construction, and the city’s latest major arts district, GillmanBarracks, has also just opened. It is an exciting time for the Singaporean artscene. Art Stage Singapore is a vital part of this art scene, and contributes tothe country’s reputation in the arts world by attracting collectors, galleries,artists and art enthusiasts from around the world.

The Singapore Platform, now in its third year, is a curated exhibition at ArtStage, and showcases work by some of the most exciting artists in Singapore.Building on past successes, the Singapore Platform has helped raise the profileof local artists and curators by putting them on the radar of internationalgalleries.

—Year on year, we continue to strengthen the fair's unique philosophy, which isis built on two key cornerstones: a focus on quality through stringent selectionand the presentation of art in context. The vast majority of galleries participatingin the fair are from Asia, and the vast majority of artists exhibiting at the fairare from Asia. We are Asia’s global art gathering.

—The floor plan is going to look rather different next year. We have to accommodateover 30 000 visitors to the fair, we have to construct booths for over 130 galleriesfrom more than 20 countries, as well as reserve areas for our special platformsand projects, like the Singapore Platform, the Indonesian Pavilion, and ProjectStage. As always we’ll also be hosting a series of lectures and discussions. Lastyear, Art Stage exhibited 43 Project Stage artists, organised 22 special installations,6 performances and a series of talks. This year, we’ll be adding over 30 Indonesianartists to that list, as well as numerous emerging Singaporean artists and curators.

—I would rather leave it up to our visitors to decide that. We’re going to havesome of the world’s best artists and galleries at the fair, so there will definitelybe a lot to see and enjoy.

TPAG:—How do you think Singapore isdeveloping as an art hub andwhat role has Art Stage playedin this?

—How does the curation of Art Stagereflect its overall message?

—What sort of cutting edgegalleries and artists, presentedat the fair this year, bestrepresent the innovativeflowering of Asian artists?

Clockwise from top left:

Arbo Deus Pennatus (2011) — Uram Choemetallic machinery, electronic devices (CPU board, motor), 112 x 46 x 79cm

Red is the Color of Life, and so is Black (2010) — Geraldine Javieroil on canvas, 193 x 244cm

Untitled (Divina Proportione) (2011) — Ai Weiweihuali wood

TV Cello (1999) — Paik, Nam Junemixed media

Tumbangnya Sebuah Pemikiran (2012) — Samsul Arifinacrylic on canvas, 280 x 200cm

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his year saw a good turnout ofAustralian artists at MAP, coupledwith counterparts from SoutheastAsia. International media such asKorean Press succinctly teased outthe strong links between Malaysiaand Australia, alongside otherEuropean countries.1 The event wasalso strongly supported by theAustralian government in 2011.2

Over four days (20 – 23 September2012), Melaka saw different artistsworking with, interacting with, andresponding to the different worldheritage sites in the state. Each andevery one of them have establishedan individual and personal relation-ship with these sites, namely St Paul'sChurch, open areas, and a public areaat the gateway to St Paul's Hill. Sinceits inception in 2009, the festival hasseen noticeable developments, bothnationally and internationally. Moreart forms have been included, namelyvisual performance arts, and film. Theperformance section of the festivalhas been positioned as a dance andperformance art showcase, of whichthis article has chosen to focus on.

Showcasing works in these worldheritage sites is strategic, bothartistically and in terms of organ-isation. Melaka is rich with cultureand heritage. According to the blurbin the brochure of the event, collectiveancestral heritage serves as a contextfor framing contemporary cultureand artistic practices, both of whichaim to cross cultural and socio-economic divides. To the organisers,it is "a three day celebration whichremains free to all".

In another paragraph, detailing thecuratorial philosophy behind thefestival, the theme involving the actof "turning around" is predicated on"transform-ation through the creativedrive", where an attempt is made toconnect the heritage foundation forMelaka with contemporary arts, albeitunder the auspices of Melaka's"heritage-driven tourist industry".The theme is Traces of Transform-ation.3

Led by Melaka-bornAustralian Tony Yapthe 4th Melaka Art andPerformance Festival(MAP) aims to present thework of both local andinternational artistsagainst the backdrop ofworld heritage sites in theMalaysian state.

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CONTEXT& CONTENT:

MAPPING THE MAP

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1 “MAPFest 2012 is produced by Arts & Performance Festival Melaka Sdn Bhd and is supported by Tourism Malaysia, the Melaka State Government, together with the efforts of E-Plus Entertainment, Mercatus Plus Malaysia, Badan Warisan Malaysia, Kingdom of The Netherlands, the French and The Netherlands Embassies, the Australian Government, the Australian High Commission, Australia Malaysia Institute, Multicultural Arts Victoria, the Embassy of France, The Tony Yap Company, Nyoba Kan, Simone Lourey and William Randall.”

"Over 50 artists from 15 countries showcased their talents." September 28, 2012. Accessed October 6, 2012. Korean Press. http://www.koreanpress.net/news/view.asp?idx=3108&msection=4&ssection=5.2 "Australia Supports The Melaka Art And Performance Festival." Accessed October 6, 2012. Australian High Commission, Malaysia. http://www.malaysia.embassy.gov.au/klpr/media_MAPFest.html.3 "Selamat Datang." Accessed October 6, 2012. Melaka Art and Performance Festival 2012. http://www.melakafestival.com/index.html.4 Rajendran, Charlene. and Wee, C. J. Wan-ling. "The Theatre of Krishen Jit: The Politics of Staging Difference in Multicultural Malaysia." TDR: The Drama Review 51, no. 2 (2007): 11-23. http://muse.jhu.edu/ (accessed October 6, 2012).

Internal landscapesWhether or not the blurb has beenwritten for an intended audiencecomprising of funders and supporters,the lofty aspiration is its aim to makethe festival open to all, whilerequesting a transformation. Thenature and type of "transformation"is open to interrogation. There aretwo possibilities: one that involvesartists engaging in performances thattransform the form, space, andbodies; the second, the transformationwithin the hearts and minds of thespectators visiting the festival andencountering the artists. Clearly thefestival intends the former, but to alarge extent, the festival also aims forthe latter to take place, in the heartsof the peoples in Melaka, whichinvolve the natives of Melaka andthose whose visit to the place is eitherbe incidental or purposeful.

It all sounds good -- a festival thataims to showcase contemporary artand to serve a social purpose inbinding people together. All of whichencompasses benefits to the promo-tion of contemporary art, to promot-ing tourism in Melaka, to bringingthe natives of Melaka together. Itbrings to mind the strategies of lateKrishen Jit in navigating multicultural

interaction in Malaysia.4 And insummary, education plays animportant role in bridging differencesand consolidating similarities.Differences can be made commonthrough establishing commonvocabularies between performancesand artists, while similarities can beconsolidated through the spirit of afestival – gathering people together,through the commercial mechanismthat is operating in the festival.

Festival forumHowever, in reality, when all elementsare brought together into one withouta clear delineation of roles, the festivalrisks putting too many fingers intodifferent soups. The result is chaotic,leaving the people (including theartists) bewildered on what's to begained from the festival experience.In this respect, public education – orsimply public awareness – as the mainintention, together with all the varioussub-objectives, should be strength-ened.

Spectators may not be unsure of whythe sites were chosen in the first place,or with the curator's intention, andwhy the artists were allocated to thesesites. In, for example the perform-ances of Anne Laure and Tony Yap

in site 3, spectators might find itdifficult to understand the relationshipbetween both, or the lack of it, underthe backdrop of the greenery, of whichits presence has been thoroughlyemphasised through Anne Laure’sperformance of a person on a boatmade of branches.

Again, it could also be said that"happenings" involving spectatorsshould be instantaneous andaccidental, for the organic nature ofthe festival could generate newpossibilities in interpretation and newknowledge. It might be a good ideato incorporate a strong academicforum in the festival, away from theusual sharing of ideas and experienceformat, and to critically look atdifferent artists’ practice in relationto the socio-political setting of thesite of Melaka in colonial and post-colonial contexts. And that wouldrequire another phase of analysis todeepen the content of the festival andframe the discussion and contexts ofthese artists with the world heritagesite of Melaka in different categories.

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Text: Gladys TeoPhotos: Attilio Rapisarda

T he finale of MAP (Melaka Art and Performance Festival) was directed byorganizer Tony Yap complete with sound and lighting elements. It also raisedquestions about new frontiers in performance art. Whilst the performanceswere largely unscripted and improvised, could they be labelled "performanceart" with elements of visual staging? Can dancers and theatre-practitionersbe called "performance artists"? How is performance perceived and evaluateddifferently when presented in a gallery/museum as opposed to a theatre?

Whilst it is relatively common for artists to move between disciplines, thecross-pollination of visual art performance and theatre has been controversial.The dialectic between "performance" and "performing" arts was likely builtupon the birth of visual art performance as a repudiation of theatre. Performingarts have traditionally been understood to be illusion and spectacle, butperformance art seeks to dissolve the space between viewer and performer,with the contingencies of actual time-space, location and audience oftenfactored into the work. The representation of reality is also a steering principlein performance art over performing arts – with the rejection of illusion andspectacle, everyday clothing and improvisation favoured over costumes, scriptsand rehearsals.

SPECTACLEAND SPACE

The site performances on the final day of the Melaka Art and PerformanceFestival in Malaysia were affective and entertaining, but also left a

queasy feeling about the theatricality of works banded under the category"performance art".

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Black Box vs White CubeThis desired end goal of reality in performance art, perhaps, highlights therejection of mimesis and visual art's obsession with authenticity, with apredisposition towards protecting ownership. Like other mediums in visualart, the art exists only in the moment in which the work is perceived: theaudience has a role in the creation of the work itself, and each performanceis unique depending on who is there to experience it. As a result, no twoperformances are ever alike. This is a departure from traditional performingarts where scripts, rehearsals, choreography enable replication, and audiencesexperience exactly the same performance over time and location spectrum.

Performance art is object-based, predicated on the objectification and abstractionof the human body, but performing arts are time-based with origins in danceand theatre, predicated on subjectivity and the creation of a shared experience.In the visual art context, the body is an object, a canvas upon which the artistcan project his or her desired meaning. Performing artists are experience-makers, not object-makers, where they are concerned with audience’sengagement and grapple with aesthetic challenges of integrating light, soundand visuals. The stress on the evocation of emotions and empathy then movesthe human body as an object into a subject as performing artists are thenconcerned with the study of movement and the performative event itself.

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Object of engagementPerformance artists think within the framework of object-making in a time-based world, and are engaged in creating an intellectual framework aroundtheir object-based work. A performance is created and audiences are left tointerpret – the performance artist does not assume responsibility for individualreactions, whereas the performing artist works with a different concern, thatof audience engagement.

With this in mind, it is then clear which category the site performances at thefestival fall into. Whilst the improvised dramaturgy lacked a thoughtfulframework and context, the emphasis on audience engagement and interaction,however, was evident. This was epitomised by a group improvisation wherea busker had his role increasingly revised from that of a spectator to anotherperformer, much to the laughing delight of the audience.

As the frontiers shift, a new zeitgeist of performance is opening up in today’scultural landscape where contemporary artists are continuously blurring thelines between theatre, dance, installation, performance art, visual art, live art.The context of each work then comes from who curates it, where it happens,who writes about it and who is its intended audience. Instead of asking whetherit is dance-theatre or visual art performance, it is more useful to ask: Why wasit made? How does it function? What tactics does it use? By looking acrossgenres instead of getting tangled up in them, fruitful cross-pollination can givegenerate ideas and awareness. The festival, from this perspective, acknowledgeswork by time-based artists – directors, choreographers, dancers – who arecreating performance on a regular basis. The festival, then, is a platform forboth performance and performing artists engaging in parallel strategies toelevate the value and perception of performance work.

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DIALOGUES

Facing Page:Reflexion Sereine (2007) — Ma Deshengacrylic on canvas, 150 x 200cm

This Page (top):Not Yet Titled (back) (2009) — Cui Feithorns, twines and pins on wall

Manuscript of Nature V _ Syracuse (front) (2010)— Cui Fei, tendrils and salt on floor

(bottom):Etirer(1982) — Ma Deshengink wash painting, 60.5 x 79cm

y interest in China andChinese artists started when I wasliving in Hong Kong in 1994 and1995. My cultural interests had beenin a completely different area untilthen, and I had been studying andworking in Islamic art and archi-tecture. Hardly any galleries in HongKong were devoted exclusively towhat was happening in China at thattime, but I found the work presentedby Schoeni Gallery to be inspirational.

A few years later, in 2003, I was livingin New York, and was contacted by agallery owner from Hong Kong whowanted to explore the Americanmarket and was publishing prints ofthe work of important artists livingin China. I took the challenge but Ihad to “educate” myself aboutcontemporary art in China. Therewere already some importantcollectors in America at that time,but only a few. The few galleriesspecializing exclusively in contemp-orary Chinese art turned out to bepioneers.

Not much had been published in artmagazines and newspapers, althoughsome of the great Chinese artists were

living and working in America.Xu Bing, Gu Wenda, and ZhangHongtu had shaken the conventionsof traditional art in China but hadbeen forced into exile. To manyAmericans, however these wereindistinguishable from the countlessChinese who had landed foreconomic reasons.

For me, working with the gallerydirector from Hong Kong was terraincognita. I nevertheless sensed thatwhat was taking place would changethe global perception of art. However,trying to sell prints of Zhang Xiaogangor Wang Guangyi became a diplom-atically complex, but educationalmarketing operation. I participatedin several art fairs, including aprestigious one in Chicago. I wasoften confronted with comments onZhang Xiaogang such as: “It is nice,but how can I live with a Chineseface in my living room?” Or, on WangGuangyi’s work: “My family wouldnot like to have a Communist workat home!”


Text and photos: Michèle Vicat

Geneva-based Belgian art consultant, Michèle Vicat is the founder and the publisherof 3dots water, an online publication that promotes understanding of Chinese

artists, who are now part of the contemporary fabric. She reveals how an artisticdiaspora in recent decades is changing global perceptions.

THE CONTEMPORARYDIASPORA

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TPAG ISSUE 36 — NOVEMBER/DECEMBER 2012DIALOGUES

Fortunately, public perception ofChinese art has matured considerably,but a lot of work still needs to bedone to inform people. That real-ization was the driving force behindthe creation of 3 dots water as awebsite. China has become a majortopic for debate in Europe and in theUSA, but fear and admiration arefueled by stereotypes. The case ofAi Weiwei has had an enormousimpact on people’s imagination andit is sometimes difficult to makepeople understand that not allChinese artists are being torturedor deprived of freedom of expression.

Not all the stereotypes are aboutpolitics. People who know little aboutChinese art still believe that it consistsonly of elegant calligraphy and class-ical scenes of mountains shrouded inmist. In fact, the contemporary sceneis more conceptual and diverse thanmost realize.

3 dots water is a virtual publication,and it does not take a political stand.Our goal is to grow as a platform,and to connect artists with a largerpublic. There are enough books,academic studies and magazinesavailable today that deal withcontemporary Chinese art at anacademic level or that engage incritical commentary. We presentartists from different generations(Zhang Hongtu and Morgan Wong,for example) which allows us to passover the traces of the CulturalRevolution, and telling the storiesof artists who live in the diaspora(Cui Fei and Qiu Jie) establishes alink between them and the globalChinese community. We chronicletheir ascent onto the global arena.

The Swiss artist, Julia Steiner, whospent six months in residence at theUrs Meile gallery in Beijing, revealsthe path of these artists who belong

to the global market in which therewill be, most probably, less and lessbarriers between contemporaryChinese art and Western art or Indianart.

In the 21st century, nearly everyoneis aware that something big hashappened in Chinese art. The record-breaking auction prices and soaringprices in art galleries have attractedenormous attention, but it can alsobe a distraction from the new art thatis emerging now.

Michèle Vicat with Ma Desheng

Michèle Vicat with Huang Yong Ping

Cui Fei

Not Yet Titled (2009) (detail) — Cui Fei, thorns, twines and pins on wall

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G1022 (2012) — Wang Yehanacrylic on canvas, 50 x 50cm


T he verdict on China’s CulturalRevolution is plain to see in the 21stcentury. Mao simply wouldn’t toleratewhat the present government at leastostensibly does, finding the idea of aZhang Xiaogang on his wall asoffensive as donning a pair of Dolceand Gabbana tortoiseshell shades.Both have become symbols of China’sprosperity.

The period, now archived, servesas an extreme barometer of theconnection between art and politics.What was and was not toleratedstands as a good model of the innatepolitical power of imagistic language.What’s evident is that Mao lookedtowards the Russian soviet modelduring the Cultural Revolution andart students were requested to follow“Social Realism”. Abstract art was atthe opposite end of the spectrum,ineffably intangible and in the eyesof dictatorial figures that meansdifficult to control.

Pictures of rural workers, oxen-likeand proud, under the father figureof Mao, contrasted with shapes andforms defined as non-represent-ational, that could neither beimmediately understood by thepeople nor the government. Theywere however understood by thosewith a threatening know-how andperception, and with room forinterpretation that spelled out anotherkind of intellectual freedom that facedthe firing line in the CulturalRevolution.

So Chinese artists considered“abstract” such as Zao Wou Ki joinedthe diaspora. The emergence in Chinain the last 30 years of abstract artistswas a curious phenomena. “Duringthe 1980’s, there were very rareabstract art artists in China,” saidShanghai born abstract artist WangYehan, whose exhibition ‘Metropolis– Pixel’ was held in Hong Kong inSeptember, organized by Julius Baser

at Galerie Huit. “Not only could fewunderstand abstract art. It had beenlabeled as a symbol of capitalism.”

Wang asserts that Chinese artstudents are still not encouraged andinspired to develop abstract art.“In China, art students are guidedto draw figurative art, the definitionof aesthetic depends on how real theobjects you draw and the emphasison figurative art can destroy thedevelopment of an artists’ imaginativeability and conceptually thinking.”

An exhibition in Hong Kong showing the work of Chinese artistWang Yehan highlights abstract art as a political as well as an artisticallycomplex language.

THE CHANGING SHAPEOF ABSTRACT ART

Text: Ko Yin ManPhotos: Galerie Huit

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Born in 1959, Wang Yehan graduatedfrom the University of Arts Shanghai(now Shanghai University, Fine ArtCollege). In 1995 he went to Canadato study Art and Design at Toronto’sGeorge Brown University, beforereturning to China to set up a studioin M50 Shanghai in 2004.

As with other big name abstractartists, Wang developed his art inexile, but he is a part of a movementthat is becoming more personal. “Forabstract artists, like Zao Wou Ki andChu Teh Chun, the inspiration mainlycomes from the natural world. Mygeneration needs to establish anotherform of abstract art. What I representis my own language.”

In Wang‘s ‘Metropolis – Pixel’exhibition held in Hong Kong, thestriking abstract work of Wang ischaracterized by “unmistakably boldswirling pebble dashes. Each piecefeatures dynamic shapes and formswhich morph in and out of focus likean optical illusion or a trick of thelight.”

Ironically, the name of the exhibitionwas based on an interpretation. Wangrevealed that he didn’t know his artbore any resemblance to any futuristic‘Metropolis’, “This was a commentby an art critic, when I created myartwork, I didn’t think about startingit. My style is comes from my intrinsicself. All I want just to keep developingmy art and hope it can resonate withthe viewers.”

It is hard to really trace the originsof abstract art. Some forms of Chinesecalligraphy and Arabic geometric artmight be considered a form of it.Categorically, though it is a shift fromthe figurative, often perspective-filledrepresentations of reality thatdeveloped during the Renaissance,or in any of the global figurativetraditions, reaching a height whenphotography came along to representreality.

Strongly associated in the 20thcentury with artists like Mondrianand Kandinsky, abstract art goesbeyond the limits of visual reality and

artists are freed from the limitationsof the figurative form, approaching astate of spiritual freedom. Whilerooted in reality, viewers decode theideas of artworks by their owninterpretation. The understanding ofabstract art depends on how theviewers reconstitute the externalworld through dots and lines. In thatsense, abstract art is imbued with apolitical power. It is less passive andinvites the viewer to interpret.

Abstract art appears to be morepopular in the corporate sector inSingapore and Hong Kong. Even tocollectors, there may be somethingthreatening about artwork that’s notas readily understood as figurativeart. Is that not unsettling to collectorswanting to be in total control of theirliving rooms? According to Wang,more collectors in China are startingto embrace it, but only as theyunderstand it.

G1001 (2012) — Wang Yehanacrylic on canvas, 140 x 200cm

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Text: Remo NotarianniPhotos: Sotheby’s

There are concerns about an economicslowdown in the art market, but amid the cautious

buying comes reflection and change.

SLOWNESS ANDTHE LONGEVITY

OF FORTUNE

Indonesian artist Lee Man Fong’s Fortune and Longevity broke records at Sotheby’s Autumn sales.

Doppelganger (Pink Rocinante) — Michael Joo, 2009-2012

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otheby’s October auctionscoincided with “Golden Week”,the holiday in which well-heeledmainland Chinese usually cross theborder or go abroad to splash out onluxury goods. But according to officialnews reports, spending hasn’t metexpectations this year.

“This could be the worst GoldenWeek since 2003, when Hong Kongstarted allowing in independentmainland Chinese tourists” CarolineMak of the Hong Kong RetailManagement Association wasreported as saying, pointing out anoticeable lag compared to last year.

And that’s not good news for the artscene, which has been nurtured inpart by the boom in contemporaryChinese art and mainland buyers whohave helped turn Hong Kong’sfortunes, at least for some, in art,putting contemporary fine art on theluxury goods list in a city known forits competitive tax rate. Sotheby’sOctober auctions weren’t extra-ordinary but they sprung somesurprises with healthy sales for SouthEast Asian art such as the record setby the HK$36.3 million auction ofpainting Fortune and Longevity byIndonesian Lee Man Fong.

There has been speculation about theslowdown of growth on the mainland,but we are also in a period of prudentdecision-making, as a generation ofChinese collectors look for more thanbrand name art that adds prestige tocollections, favouring diverse, cuttingedge value for money.

So what if there is a grounding halt?It will mainly mean less speculativebuyers on the market. Slownessdoesn’t make fast business but itis a pace that connoisseurship iscomfortable with – and that alsocomes with changing tastes.

“Tastes in Asia are becoming globalas well as increasingly personal: oneneed not assume that the averagecollector just wants to buy what theirfriend has,” says Graham Steele,Director of White Cube Asia, a UKgallery that recently opened a branchin Hong Kong. “The world of art inAsia is getting bigger – other inter-national galleries coming in – and itis through conversation and dialoguethat these tastes evolve and develop.“

Economic slowdowns are woeful butthey create conditions for change.Will that mean more time forcollectors to put thought into buying

art pieces that go beyond impulsivestatus-seeking acquisitions? Havingless disposable income couldencourage thoughtful spending andthe discernment of true connoisseur-ship. In that sense, a slow andreflective marketplace is somethingof an education for those wishing tospend their money wisely, and on artthat they truly understand and love.And there is also more evidence ofChinese connoisseurship in the globalart market. New auction houses arespringing up internationally, such asChina Guardian Auctions, which hasmade an international presence forthe first time, holding its first sales inHong Kong in October. It specialisesin traditional Chinese ink paintings,calligraphy, and Chinese furniture.

The Asian art superstars continuedto shine during auction month, andthe 20th century Chinese art categorydid fairly well at Sotheby’s with over90 percent of the lots reportedly sold.The success of Lee’s sales emphasizesthe emergence of Indonesian art,which is a new contender. As the artmarket in China matures, it can makeway for collectors who have in-depthknowledge of quality and the timeneeded to understand it.

One is reminded of German artistAnselm Kiefer’s comment that hemissed the 1970s and 1980s, whencollectors might take a year to makea decision before buying an art piece.There is indeed something wise andnatural about slowness that fits intothe buying process. One is alsoreminded of Chinese Taoist philo-sopher Lao Tzu’s insight: “Naturedoes not hurry, yet everything isaccomplished.”

Sales at Sotheby’s October auctions in Hong Kong were lower than last year but certain sections did well.

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ince it was founded in 2010,Art Stage has defined itself within aregional context, rather than be aninternational event that lifts Asiantalent onto the world stage. By notbeing an ambitious internationalextravaganza that vies for attentionwith major global art fairs, Art Stageremains cozily a Singaporean affairand culturally an Asian event.

One way that the 2013 editiondemonstrates its commitment toregional creativity is with ‘TheIndonesian Pavilion’, which reflectsthe current magnitude of Indonesianart. It has become one of the biggestart markets in Asia, rising 39 percentin 2011 in terms of auction revenuegrowth. In the pavilion a showcasecalled ‘The Best of Indonesia’,presents 30 well-established andemerging contemporary artists fromIndonesia and it has a ‘Galleries’section.

Eyes on IndonesiaMany of the Indonesian works willbe unveiled for the first time outsideIndonesia, and many have beencreated exclusively for the fair. It washowever reported that inspiration forthis was poor participation ofIndonesian galleries, which dropped

by 50 percent, compared to 2011.“When a number of Indonesianartists came to me and expressed theiranxiety over their limited access tothe international art scene andmarket, I decided it is the right timefor Art Stage Singapore to use bothits regional advantage and resourcesto facilitate a new dynamic for bothIndonesian artists and galleries,” thefair’s chief executive, Lorenzo Rudolfwas reported as saying.

Heri Dono one of Indonesia’s mostinternationally recognised contemp-orary artists sees an exciting oppor-tunity in the pavilion: “I am bothproud and enthusiastic to supportthe launch of the Indonesian Pavilionat Art Stage 2013,” Dono was quotedas saying, “The Pavilion offers anopportunity for Indonesia’s contemp-orary artists to show their mostinspiring works and celebrateIndonesia’s growing internationalreputation, whilst exploring their ownartistic journey within the global artscene."

Setting the stageApart from the Indonesian Pavilion,Art Stage Singapore will also presenta Singaporean platform and Aust-ralian platform. These platforms have

the same intention – raise awarenessof local artists that have since beenexhibited in international galleries.This year, Art Stage Singapore willbe working closely with the NationalArts Council to further develop itsSingaporean platform and will be anexclusive showcase for Singaporeanartists.

Pushing artistic limits, and almostmaking the fair an art form in its ownright, is a digital replica of theexhibition provided through Art StageSingapore. It offers a chance forcollectors and art enthusiasts to checkout all the exhibited works fromparticipating galleries. This is agroundbreaking way to preview theexhibition and will be open three daysbefore the actual event. Visitors toArt Stage Singapore will also be ableto view, place an order or purchasedigitally.

Art Stage will take place at theMarina Bay Sands from 24 – 27January 2013.

RAISING THE PLATFORM

Art Stage’s third edition in January 2013 ushersin a new era for Asian galleries, setting a newstage for creativity in Indonesia and other countries inthe region.

SPACE

Text: Remo NotarianniPhotos: Art Stage

Amnesia Cultura — Tisna Sanjaya. Mixed media, body print, monoprint, charcoal, ash on military fabric, 130 x 250cm each (14 panels)

SPACE

A sculpture presented by Semarang Gallery at ArtStage 2012

Gajah Gallery presenting work at ArtStage 2012

INDUSTRIAL AFTERLIFE

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YUE MIN JUN:FACES IN THE CROWDText and photos: Remo Notarianni

ith his current auction prices,Beijing artist Yue Min Jun isn’twowing the world like he did in 2007.But that hasn’t wiped the gapingsmiles off his iconic faces. Even thosewho do not know about the art, orthe name Yue Min Jun, must haveseen his gleaming signature carica-tures. In many ways, Yue is theendearing poster boy of contemporaryChinese art who paved the way forgenerations onto the world stage.

Back in the 1990s, Yue was a risingstar of Hong Kong’s pioneeringSchoeni Art Gallery, but his art isnow among the most popular forcopycats in the back streets of Centraland Tsim Sha Tsui. These imitationsoften end up in local cafés andrestaurants. The grins of thecaricatures may be impish but theyare also family friendly enough to bewelcomed by the masses.

Investors still warm to the likes ofZeng Fanzhi, but ordinary people areprobably more comfortable with Yue’siconic “silly men” to the point of

barely noticing them. With regardsaesthetics, they inhabit the publicimagination more easily than the alienfamily portraits of Zhang Xiaogangor Zeng Fangzhi’s masked mysteries.

Between September and October,luxury shopping centre Habour City,presented Yue Min Jun’s first soloexhibition in Hong Kong. Theexhibition titled ‘The Tao of laughter’showcased five new sculptures and12 silk screen paintings, based onTaoist notions of laughter as a routeto inner peace.

The Habour City event launched aseries of limited edition crossoverpremiums with designs by Yue andavailable for sale at the Gallery by theHarbour. These included necklaces,T shirts, Mahjong sets and postcards.Top right:

New sculptures by Yue Min Jun were on displayat Harbour City in Hong Kong.

Left and right:Visitors admire Yue’s artwork and premiums

with his designs.

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he Mucciaccia Gallery wasfounded in Rome by MassimilianoMucciaccia in the Sixteenth Centurypalace “Muti-Bussi”. It has sinceexpanded from its historical setting,opening new spaces in the centre ofRome and the ski resort of Cortinad’Ampezzo.

Since it was founded, the gallery hasworked with institutions to promotemodern and contemporary art inItaly and internationally. It has stagedhistorical shows, promoting the worksof Giorgio de Chirico, RobertRauschenberg, and Jacques Villeglé.These exhibitions proved to make adifference, and had an educationalvalue to upcoming artists.

Its newly-opened Singapore gallerywill fit into the changing culturallandscape of Asia, giving space andimportance, on the one hand, to thegreat masters of the 20th Centurybecause the gallery grants a privilegeto significant works of art byimportant artists, and on the otherhand, to current artists with a strongand successful position in the nationaland international market.

It will aim at once to have aneducational and a nurturing role, andthe gallery states that it believes it isonly a question of time beforecollectors from South-East Asia andChina will start to show an avidinterest in Western art.

“The taste for Western art in South-East Asia has been developing in thepast 10 years but it will be difficultto define the exact size of this growinginterest,” says Mucciaccia. ”Howeverit is known by art market specialiststhat art collectors from Taiwanregularly acquire works of impressio-nists such as Monet, Cézanne, Sisley.Picasso, Chagall, Fontana are themost favoured artists for art collectorsfrom Hong Kong, Singapore andIndonesia. As for Chinese collectors,they have mostly bought Chinese artand the question is – will Chinesebuyers develop a taste for Westernart? We believe that interest incollecting Western art will grow whenknowledge and information aboutthis art develops.”

Italian gallery Partners & Mucciaccia Gallery inauguratedits Singapore presence at the Gillman Barracks with theexhibition ‘From Picasso to the New Roman School’ curatedby Cesare Biasini Selvaggi.

The exhibition gives visitors a chance to experience workby the world’s great pioneers of contemporary art,highlighting their role in the artistic breakthroughs of the20th and 21st century.

WHEN NOTIN ROME…

Text: Irina BourmistrovaPhotos: Fiorenzo Nisi

Untitled (2012) — A.Bonalumishaped canvas and vinyl tempera

FEATURE

The Pocket Arts GuideA MEDIA PARTNER OF:

ART STAGESINGAPORE

ASIACONTEMPORARYART SHOW

SPOONART FAIR

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DR 19 BAHTFOUNDATIONCHARITY EVENTS

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The gallery has pushed the envelopefor Italy’s post-war conceptualists,modern and contemporary artists,who have been underappreciatedoutside Italy but are now enjoyingincreased international exposure.Italian contemporary artists have oftenbeen overshadowed internationally byits rich classical heritage, but they nowform a very solid segment of the artmarket and their works have seen arapid rise in the market place. Artistslike Lucio Fontana, the inventor ofconcept of spatialism, and the mostimportant Italian living artist, AgostinoBonalumi, are beginning to becomeindispensable to serious art collectorsworldwide.

In December, Partners andMucciaccia gallery will bring a soloshow of Agostino Bonalumi toSingapore with the hope of creatinga passionate following among South-East Asian audiences.

“The intent is to offer a dynamic spacein Singapore, where artists, art critics,collectors, and students can meet togive life to interesting new projects,with curious and brilliant themes, allof them useful enough to create adialectic” says gallery partner ValterSpano.“The Gallery in this mannerwill be a hub of cultural life inSingapore, functioning as a“Kunsthalle” or project space,stimulating observation anddiscourse.”

‘From Picasso to The New RomanSchool’ runs from now untilNovember 30 at Partners &Mucciaccia Gallery, at Singapore’sGillman Barracks.

Onlookers admire Rotating First Section, a bronze sculpture by A.Pomodoro

(Left to right)P.Cannella Bonjours (2012) — Matisse, mixed media on canvasConversations (2007) — O.Rainaldi, oil on canvas

The Troubadour (early 1950s) — G de Chirico, oil on canvas

WHATIS YOURFAVOURITETPAGCOVER ?

We’d like you to choose your favourite cover of 2012.Get ready to vote in January 2013.

JAN FEB MAR

APR MAY

JUN/JUL AUG SEP

OCT NOV/DEC

ESPLANADE &MARINA BAY SANDS

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Ode To Art

Art Science Museum

The Asian Civilisations Museum

The Arts House

Ode To Art

Chan Hampe Galleries

Nikei Fine Art

Cape of Good Hope Art Gallery

Art-2 Gallery

Y2Arts

Gajah Gallery

Tembusu Art Gallery

ArtXchange Gallery

TANJONG PAGAR,CHINATOWN& RAFFLES PLACE

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DreamSpace Art Studio

Utterly Art

Galerie Sogan & Art

Yong Gallery

Art Commune Gallery

Indigo Blue Art

Art Club Singapore

Galerie Belvedere

Galerie Steph

Ikkan Art International

ReDot Fine Art Gallery

Valentine Willie Fine Art

Richard Koh Fine Art

Art Xchange Gallery

Ken Crystals

Viridian Art House

80 Gallery - Song Nian Art Gallery

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Art Plural Gallery

Art Trove

Yavuz Fine Art

The Private Museum

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Forest Rain Gallery

Sculpture Square

Art Galleries @ NAFA

The Luxe Art Museum

Yisulang Art Gallery

Art Gallery 3

Art Seasons Gallery

Mulan Gallery

SINGAPOREART MUSEUM AREA

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Pop and Contemporary Fine Art

Gallery Reis

Art Space @ Scotts

Opera Gallery

Heng Artland

M.A.D Museum of Art & Design

ORCHARDROAD

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Sunjin Galleries

TaksuHOLLANDVILLAGE

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RIVER VALLEYROAD

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Bruno Gallery

The Gallery of Gnani Arts

Boon’s Pottery

HaKaren Art Gallery

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Lion City Art Gallery

Yang Gallery

GALLERY SPOTTED

Lion City Art Gallery

19 Tanglin Road#02-07 Tanglin Shopping CentreSingapore 247909

T: +65 6733 0289 / F: +65 6336 9975E: [email protected]: Lion City Art Gallery

Opening HoursMon – Sat: 11am to 6.30pmSunday: 1pm to 5pm

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Forest Rain Gallery261 Waterloo Street#02-43/44Singapore 180261 +65 6336 0926 [email protected] – Fri: 10am to 6pmSat: 10am to 4pmSunday and Public holidaysby appointment only

74/75Singapore Galleries

76Art AuctioneersArt SchoolsArt ServicesArtist Studios

77Museum + Art VenuesHong Kong GalleriesEurope and the USArt Fairs

80TPAG Classifieds

Art Gallery 3231 Bain Street#02-89 Bras Basah ComplexSingapore 180231 +65 6333 4283 [email protected] – Sat: 11am to 7pmSun – Public Holidays:12pm to 6pm

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ARTXCHANGE Gallery6 Eu Tong Sen Street#02-65 The CentralSingapore 059817 +65 9027 3997 [email protected] – Sat: 11am to 9pm

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Yong Gallery Calligraphyand Woodcarving260 South Bridge RoadSingapore 058809Tel /Fax: +65 6226 1718Hp: +65 9786 6916 [email protected]://yonggallerysart.blogspot.com

Daily: 10am to 7pm

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Sunjin Galleries43 Jalan Merah Saga#03-62 Work Loft@Chip BeeSingapore 278115 +65 6738 2317 [email protected] – Fri: 11am to 7pmSat: 11am to 6pm

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Minut Init Studio GalleriaThird Floor 29B Jalan SS 21/37Uptown Damansara Utama43700 Petaling Jaya, Selangor +60 1 9697 8897 [email protected]

Mon – Fri: 5pm to 9pmOr by appointment

Art Seasons Gallery1 Selegie RoadPoMo #02-21/24Singapore 188306 +65 6741 6366 [email protected] – Sat: 11am to 7pmClosed on Sundays and Public Holidaysor by appointment only

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Lion City Art Gallery19 Tanglin Road#02-07 Tanglin Shopping CentreSingapore 247909 +65 6733 0289 [email protected]: Lion City Art Gallery

Mon – Sat: 11am to 6.30pmSunday: 1pm to 5pm

80 Gallery– Song Nian Art Gallery80 South Bridge Road #01-01Singapore 058710 +65 6438 4481 [email protected] – Sat: 12 pm to 6.30 pmSun: 12pm to 5 pmClosed on Mondays & Public Holidays

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The Art Club Singapore98B Duxton RoadSingapore 089542 +65 9838 2353 (Daniel) [email protected]

+65 8128 8661 (Marcus) marcus@theartclubsingapore.comwww.theartclubsingapore.comFacebook: TheArtClubSingapore

By appointment only

7Adam7 Adam ParkSingapore 289926 +65 6463 0777 [email protected] Daily: 11am to 8pm

0–9

Icon Gallery476 River Valley RoadSingapore 248361 +65 6735 4550Hp: +65 9326 7405 [email protected]/icongallery.sgTues – Sat: 10.30am to 6.30pmSun: 11am to 5pmClosed Mondays & Public Holidays

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Cape of Good HopeArt Gallery140 Hill Street#01-06 MICA BuildingSingapore 179369 +65 6733 3822 [email protected]: 11am to 7pm

The Gallery of Gnani ArtsTanglin Shopping Centre19 Tanglin Road #01-17Singapore 247909 +65 6735 3550 [email protected] to Sat: 10am – 7pmSun: 10am to 6pm

Galerie StephARTSPACE@Helutrans39 Keppel RoadTanjong Pagar Distripark #01-05Singapore 089065 +65 9176 8641 [email protected] – Sat: 12pm to 7pmSun: by appointment only

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Impress Galleries1 Kim Seng Promende#02-07/08 Greatworld CitySingapore 237994 +65 6736 2966 / 6440 4533 [email protected] – 9.30pm daily

Heng Artland290 Orchard Road#04-08 ParagonSingapore 238859 +65 6738 4380 [email protected] daily: 10.30am – 8.30pm

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Studio 67 Art SpaceNo. 67 Kampong Bahru Road +65 6225 7667 [email protected] – Fri: 10am to 8pm

ARTDIRECTORIES

ARTAUCTIONEERS

Christie’s Hong Kong Limited22/F Alexandra House18 Chater Road, CentralHong Kong

Sotheby’s Singapore Pte Ltd1 Cuscaden RoadRegent Hotel SingaporeSingapore 249715

Larasati30 Bideford Road #03-02Thong Sia BuildingSingapore 229922

MUSEUMS+ ART VENUES

Singapore Art Museum71 Bras Basah RoadSAM at 8Q8 Queen Street

National Museum93 Stamford RoadSingapore 178897

Asian Civilisations Museum1 Empress PlaceSingapore 179555

National University ofSingapore Museum (NUS)University Cultural Centre50 Kent Ridge CrescentNational University of SingaporeSingapore 119279

Goodman Arts Centre90 Goodman RoadSingapore 539053

Sculpture Square155 Middle RoadSingapore 188977

MICA Building140 Hill StreetSingapore 179369

Telok Kurau Studios91 Lorong J Telok KurauSingapore 425985

Belgravia Gallery12/F Silver Fortune Plaza1 Wellington StreetCentral, Hong Kong

Ben Brown Arts301 Pedder Building12 Pedder StreetCentral, Hong Kong

Cat Street Gallery222 Hollywood RoadSheung Wan Hong KongEdouard Malingue GalleryFirst floor, 8 Queen's RoadCentral, Hong Kong

HONG KONGGALLERIES

Affordable Art Fair(Singapore)17 – 20 November 2012www.affordableartfair.sg

India Art Fair (New Delhi)1 – 3 February 2013www.indiaartfair.in

ARTFAIRS

Lasalle1 McNally Street

Nanyang Academyof Fine Arts38/80/151 Bencoolen St

Art Schools School ofthe Arts Singapore (SOTA)1 Zubir Said DriveSingapore 227968

The Singapore TylerPrint Institute41 Robertson Quay

ARTSCHOOLS

Damina Gallery1406 Oceanic Centre2 Lee Lok StreetAp Lei ChauHong Kong +852 9575 6439 [email protected] appointment only

Leo Hee TongBlock 173, Bishan St 13, #05-105Singapore 570173 +65 6258 8787 + 65 9794 6511 [email protected] 40491 Lorong J Telok Kurau RoadSingapore 425985

Leslie GohStrangers' Reunion37 Kampong Bahru RoadSingapore 169356 + 65 9681 1418 [email protected] daily except TuePlease call forappointments/enquiries

ARTSTUDIOS

Lim Leong SengStudio 10791 Lorong J Telok Kurau RoadSingapore 425985 +65 9738 2792 [email protected] appointment only

Liu Xuanqi Art StudioGoodman Arts Centre90 Goodman RoadBlock B #04-08Singapore 439053 +65 9168 7785 [email protected] daily: 9am to 6pm

Jennifer Yao LinGoodman Arts Centre90 Goodman RoadBlock B #03-14Singapore 439053 +65 9151 3227 [email protected] By appointment only

Urich Lau Wai-YuenGoodman Arts Centre90 Goodman RoadBlock B #04-07Singapore 439053 +65 9682 7214 [email protected] By appointment only

Flo Peters GalleryChilehaus C, Pumpen 820095 HamburgGermany +49 40 3037 4686 [email protected]

Galerie Christian LethertAntwerpener Strasse 4D - 50672 Köln (Cologne)Germany

Alan Cristea Gallery31 & 34 Cork StreetLondon W1S 3NU

White Cube48 Hoxton Square,London N1 6PB

L & M Arts45 East 78 StreetNew York 10075

EUROPEAND THE US

Gagosian Gallery7/F Pedder Building12 Pedder StreetCentral, Hong Kong

7677

TPAG ISSUE 35 — OCTOBER 2012

Sin Sin53-54 Sai StreetCentral, Hong Kong

Schoeni Art Gallery21-31 Old Bailey StreetCentral, Hong Kong

ARTSERVICES

Agility Fine Arts +65 65000250 [email protected] Recommended Art Handler & Freight Forwarder for ArtStage 2012- Climate-controlled Fine Art Bonded Storage Facility- Museum-standard Specialized Art installation, packing & logistics

Helu-Trans (S) Pte Ltd39 Keppel Road, #02-04/05Tanjong Pagar DistriparkSingapore 089065 +65 6225 5448 [email protected]• Storage Solutions• Art Handling & Shipping• Artspace Rental• Project Management

AXA Art AsiaHong Kong +852 2161 0000 [email protected]

Singapore +65 6880 4957 [email protected]

China +8621 6156 3500 [email protected]

Providing tailor-made solutionsto private and corporations,museum, galleries and exhibitions;coverage for paintings andsculptures, rare books, wine andother collectibles.

Times Insurance Consultantsis a specialist in providingcomprehensive insurance policiesto cover a wide spectrum of artobjects including paintings andsculptures, collectible wines,antiques, rare books, jewelleriesand more.

Contact: Ms Sally Lee +852 9095 6316 [email protected]

Puerta RojaPrivate Latin Art SpaceShop A, G/F Wai Yue Building15 – 17 New StreetSheung Wan, Hong Kong +852 2803 0332 [email protected] appointment only

Para/Site Art SpaceG/F, 4 Po Yan Street,Sheung Wan, Hong Kong

Lotus Fine Arts Logistics(S) Pte Ltd6 Lok Yang WaySingapore 628625 +65 6266 7660www.lotus-art.com• Packing & Crating• Installation & Transportation• Project Management• Climate controlled Storage• Insurance

Synergraphic Design10 Changi South Street 1Singapore 486788 +65 6546 4133 [email protected] – Thur: 8.30am to 5.45pmFri: 8.30am to 5.30pmSat: 8.30am to 12.30pmClosed on Sundays

Synergraphic Design specialisesin design and manufacture ofdecorative, sculptural andstructural glass art works for usein architectural and interior spaces.

Terms and conditions:1. Subscription fee is non-refundable.2. Subscription will start the following month after receipt of payment. 3. TPAG is available on first week of the month. Please allow 1 week for delivery. TPAG cannot be held liable for postal delay.

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Complimentary copies of TPAG are available at severalplaces in Singapore and Hong Kong.

Singapore: Copies are distributed at the Singapore Art Museum (SAM),Asian Civilisation Museum, Alliance Francaise, NUS Cultural Centre,Singapore Tourism Board’s Ticket Cube along Orchard Road, leading artgalleries (Sunjin @ Holland Village, Chan Hampe @ Raffles Hotel, ArtTrove @ Waterloo Street, Bruno Gallery @ Tanglin Place, Art Exchange @The Central. 7Adam @ Adam Road and more). It is also distributed atIndoChine Group of Restaurants, Café Papa Palheta and Café Strangers’Reunion. Browsing copies are also available at Lalique Boutique @ MandarinGallery, Boutique Baccarat @ Takashimaya, the American Club, BritishClub, Singapore Cricket Club, Singapore Island Country Club, St. Regis,Amara Sanctuary Resort, Ritz Carlton, Grand Hyatt, Goodwood ParkHotel, Residence at Martin No.38, The Marq on Paterson Hill, AffluentBanking Centres of Maybank, Aberdeen Asset Management and more.

Hong Kong: TPAG is widely distributed in Hong Kong and has a presencein most galleries and art venues. It is distributed at the Diamond Suite ofLane Crawford, the Bookshop (Hong Kong Arts Centre) and browsingcopies are available at cafes such as Uncle Russ Coffee. Complimentaryand browsing copies are also available at popular art venues such as theFringe Club. TPAG has a presence at major art events in the territory.

For the environmentally-conscious, the PDF format of TPAG can bedownloaded from www.thepocketartsguide.com every month or simply flipthrough the magazine on the website using the online reader.

THE POCKET ARTS GUIDE PTE LTD (TPAG)43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115.Printed in Singapore by Dominie Press Pte Ltd.

Copyright of all editorial content in Singapore and abroad is heldby the publishers, THE POCKET ARTS GUIDE MAGAZINE.No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted in any form or by any means, electronic,mechanical, photocopying, recording or otherwise, without priorpermission from the publishers. TPAG, ISSN 2010-9739, is published10 times a year by THE POCKET ARTS GUIDE MAGAZINE.

Every effort has been made to contact the copyrights holder. If wehave been unsuccessful in some instances, please contact us and wewill credit accordingly. Even greater effort has been taken to ensurethat all information provided in TPAG is correct. However, we stronglyadvise 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 lastminute 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 interpretedas endorsed by or recommendations by TPAG The products andservices offered in the advertisements are provided under the termsand conditions as determined by the Advertisers. TPAG also cannotbe held accountable or liable for any of the claims made or informationpresented in the advertisements.

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Over 70 pages of news, features, expert analysis, uniqueperspectives and groundbreaking artwork, from Asia andaround the globe.

The Pocket Arts Guide is available ten months a year andis widely distributed in bookshops, galleries, developmentsand major art venues in Singapore and Hong Kong.

Red is the Color of Life — Geraldine Javier

We get both sidesof the story

TPAGCLASSIFIEDS

ARTWORK / EXHIBITION SPACE / ART LESSONS / ART MATERIALS

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]

BRUNO GALLERY91 Tanglin Road (in between Tudor Court & St. Regis)#01-03 Tanglin Place, Singapore 247918Tel / Fax: +65 6733 0283www.brunoartgroup.com [email protected]

BRUNO ART GROUPSingapore | Israel | Venice | Turks&Caicos

ART HISTORY HAS A FUTURE

We end 2012 with the November/Decemberbumper issue, concluding a year of insightful coverage

that has kept pace of history while it is happening.We look forward to finding out

more in 2013.

See you in the new year.

The Pocket Arts Guide (November/December 2012)

Documents

Transcript of The Pocket Arts Guide (November/December 2012)