Singapore Biennale 2006
Friday, January 31, 2003
Olga Marie Polunin is a Singaporean artist living in Belgium. She is of Russian-English and Hakka Chinese descent. Her paternal grand-parents were respected artists of the 20th century. Her early education was in the Sciences in Singapore. After a year as an undergraduate at the National University of Singapore, she decided to pursue Art. She explores her Asian roots through the image of the feminine form. She paints in oil and gouache. Chinese influences are evident in her series of nudes.
Following the birth of her children, she depicted the sacred and playful bond between mother and child. She is self-taught, and she is inspired by the religious works of the 15th century of both Europe and Asia. Her paintings have a poetic simplicity as they deal with personal yet universal themes.
Her first exhibition was held in Brussels in October 1997, and her second was held at the Professor Arthur Lim gallery in Singapore in February 1999. Her works are in private collections in Singapore, Indonesia, Brussels, Paris and Los Angeles. She participated in the Images of Women VII show in Hong Kong in 2001. Her works constitute the paintings of Professor Arthur Lim's benediction to the National University of Singapore Museums.
Dr Earl Lu was the First Chairman of the Singapore Art Museum and a Member of the Museum Board of the National University of Singapore.
Dr Lu's passion is Brush Painting. He has painted since 1956. He believes that Chinese brush painting is the same as calligraphy. Like most calligraphers he is interested in lines.
Dr Lu is achieving a new artistic form of life drawing. This form of painting is analogous to calligraphy where one converts from Kaishu, the regular script, into Caoshu, the cursive script. When Dr Lu sketches his roses, he has now come to the stage when it is like Caoshu. This is what he would like to do in his drawings of a human being, whether it`s a man or a woman, to practise so hard and work so hard, that every sketch he makes is accurate in both its anatomy and its posture so that the figure won`t fall over, it`s nicely balanced. He says, "In the end it is your vision of the world that is interesting to other people, because your interpretation is more important than an accurate likeness."
To My Valentine
You are cordially invited to the preview ofon 4 Feb, 2003 10am ~ 7pm
59-61 Kim Yam Road, Singapore 239360
For those who enjoy the sensuous works of Dr Earl Lu, iPreciation will be exhibiting 19 pieces of Dr Earl Lu’s paintings in the gallery from 5th to 28th February 2003.
April 2002 saw a sold-out show of Earl Lu’s paintings held at iPreciation. A total of 40 of his artworks portraying beautiful Roses and Women were shown in the gallery and they delighted the audience with his dazzling yet assertive brushstrokes and his bold, generous use of colors.
For a man who is a surgeon, art philanthropist and art lover, Dr Earl Lu somehow possess all the attributes of a highly impressionable artist. If one were to scrutinize his works, one may find strong and decisive strokes in his brushworks that exude the confidence of a decisive surgeon. His obsession with roses as the universal 'flower of love' is signature. Art connoisseurs will also find his works to stand out, one may attribute this to the fact Dr Earl Lu is (and still is), an ardent art collector and that he was formerly the (first) Chairman of the Singapore Art Museum - many artworks had passed through before his eyes. This same discipline, of assessing the good works from the bad, had been applied more fiercely on his own works, thus making each one of his works a true masterpiece.
It is such that I cordially welcome you to our gallery for the preview to grace these wonderful works of Dr Earl Lu.
Monday, January 27, 2003
The Intermedia Lab was set up by LASALLE-SIA College of the Arts in July 2002 as a laboratory for experimental, innovative and interdisciplinary research undertaken in collaboration with other research institutions as well as with industry partners. The Intermedia Lab seeks to embark on ambitious research projects that would not only exemplify key developments in arts, design and performance but also pave the way for developing strategic links and inroads into key research niches and industries in Singapore and abroad. The founding Director of the Intermedia Lab is Gunalan Nadarajan, who is also Dean of the Faculty of Visual Arts at the college.
The Intermedia Lab aims to establish LASALLE-SIA College of the Arts as a leading research institution by harnessing and strategically deploying the research energies of its faculties as well as through collaborations with other research institutions and relevant industries. Its four main objectives are:
Initiate and undertake research projects that integrate the research initiatives and imperatives of LASALLE-SIA;
Initiate and undertake research collaborations with relevant industries and institutions outside LASALLE-SIA both locally and internationally;
Organise events and activities that encourage the critical discussion and dissemination of the research undertaken at the Faculty of Visual Arts and Faculty of Performing Arts at LASALLE-SIA;
Undertake research projects with and for commercial applications and development.
An advisory committee consisting of prominent members exemplifying a variety of disciplines and interdisciplinary profiles has been set up to advise the Director of the Intermedia Lab on policies, procedures and projects. The members of the committee include:
Associate Professor Machiko Kusahara,
Graduate School of Science and Technology, Kobe University, Japan
Dr Tony Chan
Director, Centre for Advanced Media Technologies, Nanyang Technological University, Singapore
Mr Tay Tong
Managing Director, Theatreworks, Singapore
Mr Robert Casteels
Dean, Faculty of Performing Arts, LASALLE-SIA College of the Arts, Singapore
Director, Intermedia Lab
Dean, Faculty of Visual Arts, LASALLE-SIA College of the Arts, Singapore
The research initiatives of the Intermedia Lab seek to be mindful of the peculiar and shifting demands of the relevant industries as well as to identify and capitalise on emerging areas with research potential. However, it is crucial that this industry-relevance does not paralyse the capacity of the lab to initiate research projects that do not have any direct relevance to industries. The Intermedia Lab does not intend to simply become a client-driven research centre but serve as a laboratory for the experimentation and exploration of creative projects that do not necessarily have an immediate or direct value; what has been termed in scientific research as ‘blue-sky research’. The results generated from such work could then be explored for their ‘near-market’ viability as products and services. The lab actively enacts research partnerships and collaborations with other research institutions that have similar and/or compatible research agenda. It therefore welcomes institutions interested in collaborating on some of the projects mentioned below to contact the Director of the lab. The following are some research areas that have been identified for development by the Intermedia Lab:
Wearable Computing (e.g. electronic ornaments, smart fashion and textiles)
Connective Robotics (interpersonal, social and evolutionary robotics)
Telematic Interfaces (creative interfaces with mobile and web-based technologies)
Responsive Architectures (e.g. smart spaces; ambient intelligence)
Virtual Spaces (eg. VR immersive environments and interfaces)
Acoustic Architectures (sonic environments and sound-augmented spaces)
Providing strategic research links with research in the life sciences, specifically biotechnologies.
Creative Biotechnologies (e.g. transgenic ornaments, biomachinic interfaces)
Augmented Senses (e.g. teleolfaction, telegustation and telehaptic devices)
The research and development of play (Latin: ludus) experiences, interfaces, products and services, e.g.:
Gaming (development of games for a variety of platforms, e.g. net, mobile devices);
Toys (exploring the possibilities of innovative toys and play experiences)
The research and development of entertainment-oriented experiences, products and services.
Augmented Cinema (exploring the interactive and immersive possibilities of cinematic experience);
Media-Augmented Theatre (exploring ways to augment the theatre experience and performance through new media and technologies like VR, holograms, robotics etc.)
Cultural Inflections of Technology
To explore how cultural specificities inflect the actual operations and modalities of technologies especially since technology is generally assumed to be culturally neutral.
Islamic Automation (a historical exploration of Islamic automata and its socio-cultural and philosophical underpinnings);
The cultural specificities, geographical concomitants and translocal aspects of the operations of the net.
Director, Intermedia Lab
LASALLE-SIA College of the Arts
90 Goodman Road
Tel: (65) 63409160/1
Fax: (65) 64404776
Sunday, January 26, 2003
Call for submissions for media art and cyberart.
The theme of the interrupt describes a perspective where technology is a
tool - it is the system, the action, the switch, from which the event
occurs. The interrupt is the occurrence where technology becomes visible
only to then become invisible again, leaving after the change does or does not
happen. From the tool perspective, the technology itself is not the object,
rather it is a starting point. An interrupt from a technological perspective is
a system call, when attention is diverted to an interaction by a user,
triggered by a process or embedded within a structured programme.
Focusing on the tool-driven (not tool) perspective of technologically
enhanced/entrenched cyberart and media art, technology becomes invisible in so
far it is an underlying set of instructions, a conceptual potential, or the
self-perpetuating generative meme imbedded in the work either via propogation
(through access/copying/linking) or collaboration
(interactivity/participation/distribution). However it is also visible as a
means of transport, it trafficks its content, its narrative, its footprint, and
then at times emerges as the content McLuhanesque style. The blurring of the
boundary of visible and invisible, becomes a site of tension for the technology
and the art. The technology as tool also creates the opportunity for the
blurring of other boundaries, allowing for the manipulation of hybrids of
expression , issues and content.
The terms media art and cyberart above allow for a wide spectrum of
expressions that create a disjuncture through technological intervention.
The Singapore Art Museum cyberart & media art gallery welcomes submissions of
existing media and cyberart works, and proposals of new projects, reflecting on
the theme of the interrupt, for consideration.
Call for submissions and proposals
Submission of existing cyberart and media art works and new proposals
referencing and engaging in technologies, the politics of aesthetics in
technology, code, hacktivism, networks and communities, technology
economies, utopian dreams, multiuser environments and micro geographies,
physical/virtual switching, would be considered for presentation at the
gallery. Proposals of existing and new works may be standalone or within
the framework of an installation.
Work may be in the formats of:
Digital art, web art (HTML, Gif, JPEG)
Video or Animation (DVD, Video, Flash, Shockwave, Quicktime, MPEG)
Software & interactive programmes (including network/internet works)
Audio broadcasts and installations (MP3, Real Audio)
Combinations of the above.
For submissions and queries, email to: nhb_cyberart@n... (email
attachments should not exceed 2MB)
Or mail to us at: Cyberart & Media (Programmes Division), Singapore Art
Museum, 71 Bras Basah Road, Singapore 189555.
Deadline for submissions: March 31, 2003
Terms and conditions:
All proposals and submissions must be submitted in English and include:
- a description of the content / artist statement
- technology requirements if any
- the artist biography
- resume of previous projects
- existing works submitted should be in the ownership of the artist, and
list presentation in previous exhibitions if any
The Red Gate Artist Residency Programmes provide artists with an opportunity
to live and work in China for up to four months. The programmes are open to
artists wishing to broaden their horizons through experiencing the dynamism
of modern China.
Red Gate Gallery has been exhibiting work by outstanding contemporary
Chinese artists for over ten years. Representing 25 artists, Red Gate
showcases a diverse range of art forms that reflect China's changing
society. As records of their observations on daily life, artists are
exploring issues such as gender, population, and the environment, all highly
relevant in our global society, but brought into sharp focus by the pace of
China's change. Through traditional Chinese painting, collage, printmaking,
installation, new media and oil painting Red Gate's artists are supplying a
"social commentary" on the political, economic and cultural transformations
within contemporary Chinese society. Since 2000, Red Gate Gallery has been
developing a range of public programmes including artist floor talks, studio
visits, gallery tours and the residency programme.
Beijing Art Academy is an organization for professional artists though not a
teaching institution. It was founded in 1957 as the Beijing Academy of
Chinese Painting by the Ministry of Culture to continue the development of
Chinese art after the founding of the People's Republic of China in 1949. In
1965, the institution changed to its current name and expanded its scope to
include oil painters, sculptors and graphic artists. All artists at the
Beijing Art Academy are provided studios in return for inclusion of their
works in the Academy's permanent collection. The Beijing Art Academy also
holds exhibitions and its staff includes some of China's most respected
artists. In the past ten years, the Academy has received a number of foreign
artists and continues to develop international arts exchanges with
institutions such as Red Gate Gallery.
Aims of Residency Programme
* Stimulate cross-cultural discourse and bring together artists from varied
regional, cultural and aesthetic backgrounds
* Offer artists an opportunity to think, experiment and create outside their
'normal' creative frameworks
* Allow artists to share, learn and interact with their Chinese counterparts
1. Bei Gao (4-8 weeks)
2. Beijing Art Academy (2-4 months)
Evaluation Criteria - for all programmes
* Quality of professional work to date
* Quality of proposed project to be undertaken during the residency
* Perceived benefits of living and working in Beijing
* Suitability of work to available studio space
* Open to all international artists
* Applicants can be at any stage of their career (senior, established,
* Applications are accepted from visual artists, creative writers,
administrators, critics and academics working in the Arts
Red Gate assists all participants connect with the art scene, local artists
and source art materials. We can help you set-up an internet account, buy a
sim card, where to get money, show you around, and how to get a taxi home,
where to buy the best Peking Duck, which part of the Great Wall not to go
to, and where the latest openings are. You will be invited to all the Red
Gate events including the dinners for 40 after an opening, the artist talks
and the now invitation-only Bei Gao BBQs!
The idea is to provide facilities for you to start work and a community in
which you can participate as much as you like.
Accommodation and Orientation Fees, and Indicative Living Costs
Accommodation and orientation fees are based on individual needs and
available resources. Accommodation costs are based on the type of
accommodation required (e.g. apartment, studio). As a guide, a rough
estimate of living expenses based on past participants' basic expenditure
amounts to about US$400 per month for food and transport. For more detail
program costs please contact the Red Gate Residency Manager at
Red Gate can help with identifying sources of funding to help cover costs
involved, provide letters of invitation and other advice regarding
applications to institutions, universities and other funding organisations.
Application Guidelines - For all residency programmes
* Completed application form
* One page covering letter outlining your residency objective, proposed
arrival time and intentions during your time in China - typewritten
* A resume outlining artistic accomplishments, awards, exhibitions,
published work etc
* A list of equipment needs clearly indicating what you will provide and
what you'll need to source in Beijing In addition,
* Visual artists: include 6 slides representative of your recent work and or
CD, DVD / video for new media artists or hotlink to your website. Maximum 5
photocopied pages of articles, reviews, and catalogues
* Writers: include selection of published work(s) or work in progress,
maximum of 15 pages
Note: All materials submitted must be clearly labeled including your name.
Please indicate orientation of slides with a dot in the upper right hand
corner and include slide list. Videos should be cued for a 3-5 minute
viewing and CDs will be viewed on an IBM-compatible PC. Although application
materials will be returned, please do not send original slides, work or
master copies and retain a file copy of your submission. Red Gate Gallery
accepts no responsibility for any loss or damages to the contents of your
Forward applications to:
Tom Parker, Manager, Public Programmes
Red Gate Gallery, International P. O. Box 100600-9039
Beijing, China 100600
Directors from Red Gate Gallery and the Beijing Art Academy will review each
application. There are no application deadlines but as the selection process
can take several weeks, especially in securing letters of invitation,
candidates are encouraged to send their completed application package well
ahead of time. Successful applicants will be advised via email or post and
are required to reply in writing advising they have accepted the residency.
Red Gate can provide a formal letter of acceptance, which can be used to
acquire a travel grant or as documentation for securing other funding
(Some are available for comments on the residency - please email Red Gate
for their contact details)
Mark Mordue, Writer, Australia
Linda Judge, Visual Artist, Australia
Elizabeth Cross, Visual Artist, Australia
Australia China Council
Tony Scott, Visual Artist, Australia
Robert Gale, Academic, Australia
Blain Crellin, Photographer, Australia
Greg Pryor, Visual Artist, Australia
Danny Huppatz, Poet & Art Critic, Australia
Rick Farquharson, Filmmaker, Australia
George Parkin and Rose Farrell, Photographers, Australia
Maryanne Wick, Painter, Australia
Michael Lyons, Sculptor, United Kingdom
Kate Kotching, Paper Cut Artist, Australia
Brad McCallum and Jacki Tarry, Installation artists, New York
Tracy Heneberger, Sculptor, New York
Robert Gale, Academic, Australia
Adrian Llyod, Chinese Art Scholar, Oxford
Charles Merewether, Curator, Getty, Los Angeles
Bei Gao - Situated on the north side of Beijing not far from the airport
expressway, Red Gate's studio apartment is set in an old factory site (Bei
Gao), which has been converted into a series of studios and apartments,
exhibition space, ceramics studio, offices, workshops and foundry
facilities. It is an environment where Chinese and foreign artists are
living and working together, along with arts administrators and critics. Red
Gate's facility is about 80sq.m consisting of an upstairs loft style
bedroom/living area with an internal balcony overlooking a 30sq.m workspace.
A bathroom and open kitchen are tucked under the internal balcony. Two
5-metre high walls flank the workspace. Lighting is more than adequate. The
studio apartment is self-contained complete with ISDN phone, hot water,
fridge, gas stove, washing machine, heating and air conditioning and
adequate furnishings and linen.
The use of other facilities located at Bei Gao (foundry, darkroom) can be
discussed prior to arrival.
Beijing Art Academy
Apartment - Red Gate leases a number of simple one-bedroom apartments in
Chinese housing on the east side of Beijing within easy walking / riding
distance to the Beijing Art Academy. Each self-contained apartment features
a bedroom, study / lounge room, kitchen and toilet with amenities included
(fridge, washing machine, air conditioner / heater, gas cooking facilities,
hot water, linen, local phone).
Studio - Red Gate has arranged to use a number of recently renovated studios
at the Beijing Art Academy that provide a simple 15sq.m workspace. The
studios are located within a three storey building that includes toilets and
other amenities (heating, air conditioning).
Bei Gao is a thirty minute cab ride (40 RMB) from the Red Gate Gallery and
The Beijing Art Academy & surrounding apartments are ten minutes away (15
RMB). The Beijing Art Academy area is also serviced by a variety of local
bus routes that connect with Beijing's expanding subway system.
Artists are responsible for their own travel (international & domestic),
materials, freight, living expenses (meals, telephone), and must provide
proof of full medical insurance, including emergency evacuation.
Participants are also encouraged to participate in Red Gate's other public
programmes including outreach education activities and studio visits.
Although Chinese (Mandarin) would be useful, it is not necessary. When
needed interpreters and assistants can be sourced.
In recent years, the Red Gate Artist Residency Programmes have been
supported and worked in collaboration with Asialink and The Australia China
Council and is currently developing programmes involving Singapore and New
Zealand cultural organizations.
Arts Camp Instructors Required
The VSA Arts Camp for children aged 7-11 with and without disabilities is
currently scheduled to be held during the first week of June.
The theme for this year's camp is paper craft. Our plan is to cover just about
every type of paper craft imaginable during the camp.
I am looking for teachers who are interested in working with kids with
disabilities. Each workshop lasts an hour and will have approximately 20
students, but you will have volunteers assisting you. The honorarium per hour
is $50. On average, each workshop will be run 3 times.
Interested parties can contact me for more details.
Volunteer instructors are also welcome.
Please note that we are a non-profit organisation and the children pay a
nominal fee of $35, which includes materials and meals for a 4-day camp.
Very Special Arts Singapore
Promoting the creative power in people with disabilities
RESOLUTIONS: a fresh start with Art
Period: 25 Jan 2003 to 23 Feb 2003
Summary: Sculpture Square begins the new year with Resolutions, an art exhibition showcasing an exciting array of artworks by local artists and artists based in Singapore.
Established artists like Chng Seok Tin, young artists like Claire Lim will be exhibiting and works range from paintings, ceramics, stone and bronze sculptures to new media of the 21st century. These art-passionate individuals have drawn their inspirations from nature and personal life experiences. In this highly textural display of works, see how simple, everyday objects and materials can be cleverly amalgamated to tell different stories.
If you resolve to become an art collector in the new year, this is your perfect opportunity at Sculpture Square’s first exhibition in 2003.
Ever found the task of weeding a chore? Make it work for you and appreciate their significance in nature. Saddened by ‘Please Do Not Touch’ signs in museums and galleries? Experience interactive art in this exhibition.
Start off the new year with some self-reflections. Enjoy these inter-disciplinary art forms and share the philosophical and spiritual journeys of the artists.
Featuring works by: Baet Yeok Kuan, Chang Wei, Chng Seok Tin, Ann Healey, Jeremy Hiah, Claire Lim, Lim Guan Huat, Jason Lim, Jessie Lim, Lim Poh Teck, Lim Soo Ngee, Mohammad Din Mohammad, Ng Siew Boon, Delia Prvacki, Benjamin Puah, Peter Seah, Shirley Soh, Soh Siew Kiat, Tan Wee Lit
Meet the artists at the opening on Saturday, 25 January 2003, 2:30pm at Sculpture Square. The Lion Dance Troupe from National Junior College will also be performing.
MORE & LESS: Art show to raise funds for NAFA's new premises
10 Jan 2003 to 18 Jan 2003
The Chinese idiom “Carp leaps over the Dragon Gate” connotes personal triumph over immense adversity. A more communal, albeit Western version of this, comes in the form of salmons leaping upstream to their breeding grounds-their ultimate home. 100 ceramic salmons will be displayed here, produced by reputable artists invited to reinvent the clay salmon. Their creations are of astounding quality and a rarity for personal collections. These works will be moderately priced and will be put up for auction. Artworks by renowned artists will make an outstanding impact in this exhibition; those by budding artists will also contribute towards the event’s aspirations.
>>Sculpture Society (Singapore) is a newly formed society registered in
>>May 2001. We have 35 members working in different fields of sculpture
>>practice. It is a non-profit organization whose goal is to promote the
>>appreciation of sculptures in Singapore, would like to play an active
>>role in raising the awareness of art in the City.