Singapore Biennale 2006
Friday, September 05, 2003
Children's Sculpture Exhibition 2003
6 Sep 2003 to 1 Oct 2003
Following the Sculpture Carnival in May, the Children’s Exhibition will showcase selected works from the carnival.
This exhibition will also feature the art making processes of the children who participated in the carnival. Sculpture Square hopes to challenge the public to rethink about art made by children. This is just a start of a long-term education process.
HOME CONSTRUCTION (WORK IN PROGRESS)
30 Oct 2003 to 21 Dec 2003
Matthew Ngui has been exhibiting and performing internationally over the past decade. He intends to present a variety of interrelated works, some of which will be site-specific and generated from the concept of Singapore as "home". Operating in juxtapositions, he will re-interpret a selection of his previous works for the space at Sculpture Square. Amongst the latter would be his famous "Chair" piece, seen at the 1997 Documenta X. The artist, who majored in sculpture in his Fine Art training, interrogates current contemporary sculptural modalities, which is inline with Sculpture Square’s continual investigation of the boundaries of conventional sculpture.
His work involves the construction of scaffolding; a system of internal and external PVC pipes that connect between galleries, with sound installation. Through this, the artist explores the relationships between the interiors and exteriors of homes, work spaces, mindsets, cultural and corporate conventions.
Featuring various expressions and interpretations of Cinta (meaning 'love' in Malay) by women members of Angkatan Pelukis Aneka Daya (APAD) Association of Artists of Various Resources
Wed, 17th - 21st Sept 2003
10.00am - 7.00pm
140 Hill Street, MITA Building, Singapore
Fazelah Supaat Abas
Irda Haeryati Tomin
Siti Zurianah Bte Sanwari
Surina Bte Mohamed Sani
Also featuring invited artists:
Lim Shing Ee
APAD's First Women Art Exhibition 2003
Association of Artists of Various Resources (APAD)
National Arts Council Singapore (NAC)
For further enquiries, contact:
Ms Ye Ruoshi at 62274557
CINTA: Apad's first women art exhibition
Featuring various expressions and interpretations of Cinta (meaning 'love' in Malay) by women members of Angkatan Pelukis Aneka Daya (APAD) Association of Artists of Various Resources.
Venue: ARTrium@MITA, MITA Building,
140 Hill Street, Singapore
Wed 17th September 2003 at 7pm
Guest-of-Honour: Miss Penny Low,
Member of Parliament for Pasir Ris - Punggol GRC
Exhibition Dates: 18th - 21st September 2003, 10am – 7pm
1. Fazelah Supaat Abas
2. Hamidah Jalil
3. Irda Haeryati Tomin
4. Juliana Yasin
5. Nuradiah Ali
6. Rauzanah Saini
7. Siti Zurianah Bte Sanwari
8. Surina Bte Mohamed Sani
9. Ye Ruoshi
Also featuring invited artists:
10. Angie Seah
11. Lim Shing Ee
View works by participants here
What is Love and how does one define it? There are many meanings, forms and expression of Love. It means different things to different people. Love is something so complex that no words can express hence this art exhibition by 11 women artists will attempted their individual artistic expression of Love.
This is the first all-women art exhibition organized by the APAD – Association of Artists of Various Resources. The theme chosen is ‘CINTA', which means love in Malay. It is a broad theme and can be interpreted in many variations. Most importantly, it aims to put forth the contemporary expressions of our women artists. The other objectives of this exhibition is to bring together and showcase the works by women members of APAD. This is hoped to promote and encourage appreciation of works by local women artists.
This exhibition is supported by the National Arts Council, Singapore
The Angkatan Pelukis Aneka Daya (APAD), Association of Artists of Various Resources is a non-profit organization established since 1962 that actively promotes its member artists and development of visual arts in Singapore. It also conduct regular art classes to promote visual art practices to the public. More information can be attained at our website www.apad.org.sg.
FOREWORD MESSAGE by
MS PENNY LOW
Member of Parliament, Pasir Ris – Punggol GRC
I would like to congratulate the Association of artists of Various Resources, or better known as ‘Angkatan Pelukis Aneka Daya' (APAD) for organising "Cinta" - its first all-women contemporary art exhibition.
APAD has a long history. Since 1962, it has been actively promoting the development and appreciation of visual arts especially amongst the Singapore Malay Community as well as in the region. I commend your efforts. Your efforts are in sync with the initiatives of the Remaking of Singapore Committee, as well as the recommendations of the Economic Review Committee that recommends the Creative Industry and a Cultural Capital as an engine of Singapore's economic growth.
It has been recognized that arts can not only value add to a person's quality of life, but also gives high value-add to any industry goods and services. Successful companies like Nokia, Swatch, and our own home grown Creative Technology wins not only in terms of innovative products, but also on out-of-the-box artistic designs. Indeed, it is the artistic expressions on these products that distinguishes it from its competitors, and commands a premium on the product. The world now recognizes that while there is virtue in cultivating arts for arts sake and appreciating it in its purest form, arts can also play a vital role in helping individuals and industrialists alike to think and act out-of-the-box, and propel forward. This is in fact the basis of innovation and invention, as witnessed in the Information and Technological revolution that we experience.
In this respect APAD's organization of ‘Cinta' is timely. Singapore needs organizations like APAD to continually encourage the development of the arts. Arts allow the creativity of a person to be realized. When individuals in Singapore have the space and opportunities to realize their innate talents, society on a whole will benefit. It will also help bring about a more vibrant cosmopolitan Singapore.
I am also pleased to note that this is an exhibition by the eleven women artists who are each distinctive in their own way. In a meritocratic society, gender is not a determinant of one's artistic expression. Their works are reflections of their exposures and the freedom they exercise in forming their thoughts and opinions. Likewise, this exhibition also celebrates the variety and diversity that underlines our unique multi-cultural landscape. It is in the appreciation of this diversity that we find unity. It is through arts and culture, that we may find a common understanding and bond that strengthens the fabric of our society. This exhibition is another milestone in celebrating our unity in diversity.
I take this opportunity to congratulate you and wish you every success.
Penny Low (Ms)
Member of Parliament
Pasir Ris – Punggol GRC
Tuesday, September 02, 2003
Erika Tan's body of work reflects her longstanding and sophisticated interest in cultural and anthropological issues. The artist's multimedia installations, photographic works, videos and more recently web sites have found an audience worldwide and have been shown extensively in the UK. Group shows include 'EAST International 2000' at Norwich Gallery, and 'Cities on the Move' at the Hayward Gallery (1999). Her first solo show 'PIDGIN interrupted transmission', a Film and Video Umbrella Touring Exhibition, is currently touring to venues across the UK accompanied by a monograph publication (ISBN 0-9538634-8-4).
Tan has made innovative use of new technologies for digital works. These have included the inIVA project 'Touring London' (2001) and 'Slipstream' (2001), a web-based project curated by Film and Video Umbrella. Via her involvement with the arts organisation Above:Below, Tan has acted as Curator for 'HUB@RiCHMiX' (2001), and as Project Manager on 'ICA in China' (1998-9) and 'Imaginaria 99' for Cap Gemini.
Erika Tan has received numerous awards for her work, including the Digital Arts Fellowship, awarded by The Arts Foundation (1998), the Arts Council Connections Fund - Singapore (1999) and the ACME Live/Work Studio Award (2001-2004). Forthcoming site-specific projects include an East England Arts Commission for Eden House, Cambridge as well as a new commission for a permanent work for the Forest of Dean in Gloucestershire.
Erika Tan was born in Singapore, graduated in Social Anthropology and Archaeology from King's College, Cambridge (1991), studied Film Directing at the Beijing Film Academy, China (1993-4) and completed an MA in Fine Art at Central St Martins School of Art, London (1997).
Floor Games & Rubix Cubes (Sites Of Construction Series) by Erika Tan
Curated by Binghui Huangfu and Marion Pastor Roces.
Showed: 05 Jun - 27 Jul 2003 at the Concourse, Esplanade, Singapore
Inspired by games, puzzles and stratagems, Erika Tan uses the concept of the grid with its long history as a tool for measuring, mapping and differentiating in this work. Her interactive ground installation is part of an island-wide, multiple-venue exhibition Science Fictions - organised in conjunction with the Singapore Arts Festival 2003.
Passing — slipping between the boundaries unnoticed
1995, three-screen video work
'Passing' explores the representation of cultures, contrasting the fixed and constructed nature of these representations with the non-linear, non-narrative elements of analogue video and sound. In particular, the focus is on definitions of 'Chinese identity', its historical transformations and the role of the media in perpetuating particular stereotypes and categories. 'Passing' has been shown at the Towner Art Gallery, Eastbourne in 1995 and as part of 'Half the Sky' at the Museum of London in 1997. The work was funded by the Arts Council of England's Black Arts Film and Video Fund.
Sites of Construction
1996, interactive floor installation, gaffer tape, mdf playing pieces, Victorian racial colour coding: red, white, yellow, brown, black.
'Sites of Construction' used a multiplicity of media - including video installation and a variety of different games - to explore the iconography of the grid and its usage throughout the last two centuries as a tool for measurement, mapping and the construction of difference. 'Sites of Construction' has been shown at the Towner Art Gallery, Eastbourne, in 1996 at Acorn Storage Space in London and, more recently, at CAS in Osaka, Japan.
2000, audience participatory installation and event
'boatrace' is an audience participatory installation and event that forms a continuum with Tan's other investigations into colour coding and early Victorian racial classifications. Audiences are invited to make paper boats from a limited selection of coloured paper (red, yellow, white, black, and brown). The boats are later 'raced' on a nearby river. 'boatrace' has been shown and performed at CAS, Osaka, Japan and as part of East International, Norwich 2000. 'boatrace' was supported by a Year of the Artist residency at Norwich Gallery.
2000, installation, with sound (Asian bird song), video, lighting, Chintz wallpaper, tea chests, tea, lavender essence, P.I.R detectors, bird cages
'east' initially developed as a site-responsive work which focused on the Victorian history of Pitshanger Manor and its associated Victorian 'taste' for Chinoiserie. Referencing a particular wallpaper design (chintz) found in the drawing-room of the Manor, the work sought to keep a narrow balance between revealing and obscuring information, history and meaning: a balance that navigated a path between beauty and pain; the atmospheric and the real; the poetic and the literal. 'east' has been exhibited in various formations: 'Chintz', 'From China to Chintz' and 'east', and has been shown as part of 'Empire & I' at Pitshanger Manor Museum and Gallery, London in 1999; as part of 'East International', Norwich Gallery, in 2000 and at Axiom Gallery, Cheltenham in 1999.
Erika Tan's work explores ideas of cultural identity, cultural difference, transgression and translation. Her work for identinet consists of a series of downloadable screensavers and other accessories through which the user can customise the desktop of their computer. Although their original function was to protect and refresh the computer screen, screensavers are now available in endless permutations that allow people free rein to express their individuality. By encouraging users to consider a complete makeover of their computer screen, Tan highlights both the surface nature of the changes and the underlying codes and patterns that determine genetic and cultural identity. re-fresh:/circumstance/choice/chance has been produced in collaboration with Ian Kerrigan, Karl Bunyan and Nadine Kennedy from dna.
Curated by June Yap, Interrupt is an exhibition of interventions, interactivity and the internet, Interrupt presents a cross-section of artist practices engaging in technologies and media. In contemporary culture, we are surrounded by media representations and our lives are augmented by various technologies. Reflecting upon our digital engagements, the exhibition takes a look at the aesthetics of media and code, realpolitik of technologies, imagined spaces and utopian dreams.
26 June 2003 – 25 April 2004
Singapore Art Museum
Monday, September 01, 2003
cordially invites you to the opening reception of
The Ganesha Show
Guest-of-Honour: Mr Inderjit Singh
Member of Parliament for Ang Mo Kio GRC
Friday 5th Sept 2003 7.00 pm
Utterly Art Exhibition Space
208 South Bridge Road 2nd Level, Singapore 058757
Tel: 6226 2605 E-mail: email@example.com
Mon-Sat 11.30 am - 8 pm Sun 12 noon - 5.30 pm
The exhibition runs from Wednesday 3rd Sept to
Sunday 14th Sept 2003.
The Ganesha Show is presented by Gnani Arts with the aim of paying homage to the artistic depiction of Ganesha, the extremely popular Hindu god. This will be done through a showcase of exceptional original paintings and drawings by artists from mainly Tamil Nadu (South India).
The elephant-headed Ganesha is unarguably the most adored god in the Hindu pantheon. His image brings luck, wisdom and auspiciousness, as he is revered as the remover of obstacles, the imparter of wisdom, and the embodiment of OM (the primeval vibration of the universe). The worship of Ganesha, in his many forms and incarnations, has made its way to many parts of the world apart from India, such as Tibet, Japan, China, Mongolia, Sri Lanka, Burma, Thailand, Cambodia, Indonesia (Bali & Java), Singapore, Malaysia, Borneo, Mexico and Central America.
Indeed, the form and shape of Ganesha has become the most utilized concept in the contemporary visual arts of India, be it painting, drawing, sculpture, carving or printmaking. The very form of Ganesha, with its intertwining curves and circular proportions, has become an ever-intriguing platform for creative experimentation. The Ganesha Show will display the various depictions of Ganesha by the participating artists, through individual styles and mediums. The artists include senior and upcoming ones such as Alphonso Doss, Rajavelu, G. Raman, Mohan Kalyani, P. Sridhar, S. Kumar, Rama Suresh, Ramesh, J. Kalidass, Anu Jain, Sarbani Bhattacharya and P. Gnana.
NB It's a FRIDAY opening this time folks, at SEVEN pm!
Contact Gnani Arts at 9004 0672 or firstname.lastname@example.org