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h e a d l i n e s

Open Call for Artists in Singapore to Submit their Portfolios for the first Singapore Biennale
Europe – Beauty in Every Corner
Opening of Europe : Beauty in Every Corner changed to 23rd June 2005 instead of 24th June 2005
un-titled Gallery – Eve Ong’s Second Solo Exhibition
Gaffer Studio Glass: Contemporary Australian Studio Glass Exhibition
Eve Ong and her Self-Unveiled II
3D Computer Animation Course
Movement in Silence – Silence in Movement
Singapore Biennale 2006

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Saturday, September 27, 2003


Quek Kiat Sing has a solo show Shift at the Plum Blossoms Gallery in Singapore from 3rd October to 12th October 2003. The Opening is on 3rd October, Friday, 7pm at Plum Blossoms Gallery, Raffles Hotel Arcade, #02-37.


Artist Feature

Ken Seet wins the 2003 Young Artist Award of the National Arts Council and exhibits in New York.


Artist Feature

Noni Kaur was awarded the 2003 Young Artist Award by the National Arts Council.

BIRTH BOX: Noni Kaur placed negatives of men inside her box and the positives of her unborn baby around it, a reminder that women are the receptacles of life.

Latest Work
Noni Kaur’s installation at the 8th Havana Biennale encourages visitors to eat parts of the wprk.

Woman's sexuality, as spectator, undergoes a constant process of transformation. She must look, as if she were a man with the phallic power of the gaze, at a woman who would attract that gaze, in order to be that woman. Journey - a conscious and subconscious process - through my artworks. My own response is exploring and upsetting in some measure, the oppressor/victim, active/passive dualities. I question every assumption, reaction I have, as a result of being culturally conditioned. The expression of my sensibilities and concerns is not a politicised feminism but more of a psychic bonding to my femaleness. Amen.

Post Graduate Diploma in Teaching Higher Education, National Institute of Education (NIE) / Nanyang Technological University, Singapore.

Master of Arts (Visual Arts), Curtin University of Technology, Western Australia.

Graduate Diploma in Fine Arts (Painting), University of Tasmania, Australia.

Bachelor of Fine Arts (Painting), University of Tasmania, Australia.

Diploma in Fine Arts (Painting), LASALLE-SIA College of the Arts, Singapore.

Young Artist Award, National Arts Council (NAC), Singapore, 2003.

President's Young Talent Award, Singapore Art Museum (SAM), Singapore, 2001.


8th Havana Biennale, Havana City, Cuba, 2003.

Global Women’s Project, Mobile Museum of Art, Alabama, Arizona, USA, 2003.

Small Works Jam, Art Season’s Gallery, Singapore, 2003.

Women Beyond Borders – The Art of Building Community, Ten Year Retrospective, University Art Museum, University of California, Santa Barbara, USA, 2002.

Global Women’s Project, (Represented Singapore), YWCA Women’s Art Gallery, Cincinnati, Ohio, USA, 2002.

Women Beyond Borders, Ontario International Airport, Ontario, Canada, 2002.

2nd Fukuoka Triennale, (Represented Singapore), Fukuoka Asian Art Museum, Fukuoka, Japan, 2002.

10th Asian Art Biennale, (Represented Singapore), Dhaka, Bangladesh, 2002.

Portraits Reassessed, Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore, 2002.

Nokia Singapore Art, Singapore Art Museum (SAM), Singapore, 2001.

Global Women’s Project, Arizona, Maine, Maryland, USA, 2001.

President’s Young Talents, Singapore Art Museum (SAM), Singapore, 2001.

Women Beyond Borders, Sculpture Square, Singapore, 2001.

Global Women’s Project, Stockholm, Sweden, Michigan, White Columns, Manhattan, New York, USA, 2001.

Feast!, Singapore Art Museum (SAM), Singapore, 2001.

Mundjah Festival, Curtin University of Technology, Western Australia, 1999.

Yesterday, Today and Tomorrow – Indian Art Through The Ages, Caldwell House, CHIJMES, Singapore, 1999.

The World’s Women On-line!, An Electronic Art Networking Event, Arizona, Chicago, Philadelphia, USA, Beijing, China, 1995.

Private Performance, South Perth, Western Australia, 1994.

Avant Garde on the Rocks, Arts Across One, University of Tasmania, Australia, 1993.

Interview in her ownwords:
Noni Kaur: As a young contemporary art practioner in Singapore, it's getting harder in some ways. There are more opportunities….new opportunities like this President's project - for exposure, for exhibition. But there are also more young artists out there now, and so now you need to be a lot more ..connected and active in your networking, to ensure that you stay noticed and supported. Many have another job - like myself - I am a lecturer at Lasalle - to sustain what I do - because I can't exactly "sell" my floor sculptures for instance. My family has been very supportive - they even help me to dye my works. And artist friends like Ernest [Chan] have helped me layout and install my works. It's clear that having a community that supports is even more critical now than before.


Tuesday, September 23, 2003

Dear Friends of STPI,

In conjunction with STPI"s current exhibition, "Half A Century of Chinese Woodblock Prints"
STPI Public Lecture Series

Sept 27 2003 : 2.30pm
"A History of Chinese Woodblock Prints"
Lecture by Mr. Chang Tsong-zung, curatorial Director of Hanart TZ Gallery in
Hong Kong and an authority on Chinese contemporary art

Venue: STPI Gallery - Free Admission (Seating on first-come, first-serve basis)

Singapore Tyler Print Institute
41 Robertson Quay, Singapore 238236 Tel: (65) 6336 3663 Fax: (65) 6336 3553 Email:
Gallery Opening Hours:
Tuesday to Saturday: 9:30am to 8:00pm Sunday and Monday: 1:00pm to 5:00pm Closed on Public Holidays


Please join us at the opening of


Monday 6th October 2003
at 6:45pm

The Art Gallery
National Institute of Education
1 Nanyang Walk, Singapore 637616

A showcase of 25 visual artists from the Australasia region that use traditional and contemporary adaptations of ‘textiles’– history, techniques, skills, materials, ideas of construction. The exhibition aims to reinvent a discussion for the medium within current contemporary art discourse, much of which leans toward new technologies and multimedia. The traditions of knitting, weaving and petty point in fact had a huge influence on the invention of the computer binary system, textiles is based on the weft and the warp, the binary appropriated this and bases itself on the naught and the one. Imagery via the computer combines its colors using pixels, not unlike the imagery of master weavers.

Exhibition will run until
Friday 31st October 2003

* a FREE BUS to the OPENING will leave from Stamford Road opposite Raffles City
at 6pm - and return - leaving NIE at 8:30pm

Gallery hours: Mon- Fri 10-5 & Sat 10-1
Enquiries: or 6790 3557 or 9618 1642

Curator: Karee Dahl Australia/Singapore
Participating artists:

Ahmad Shukri Mohamed Malaysia - pending Ann Wizer USA/Indonesia Barbie Greenshield Australia
Caroline Rika Indonesia Cassandra Shultz Australia/Singapore Claire Lim Singapore Edmond Heng Singapore Elizabeth Gower Australia Jane Gover Australia/Singapore Jewel MacKenzie Australia Kerry Zerner Australia Laura Soon Boon Ping Singapore Lee Mei Ling Singapore Lim Shing Ee Singapore Liu Liyun China
Lutz Presser Australia/Singapore Montrie Toemsombat Thailand - pending Ng Joon Kiat Singapore
Savanhdary Vongpoothorn Laos/Aust/Singapore - pending Sia Joo Hiang Singapore – pending
Sujak Rahman Singapore - pending Yuan Yaomin China Zanette Kahler Australia


weft warp naught one: “mesh”

New technologies – new media art these are the ‘buzzwords’ of the 21st Century Renaissance City fuelling and funding, education, audience needs, art practice and Singapore contemporary art discourse in general.

So where does ‘traditional and contemporary art’ from the 20th Century that is still actively developing in the 21st Century fit into this picture?

Put together in response to the challenging and diverse practices of these artists, with the question of boundaries of belonging at the curatorial core “mesh” a survey exhibition of up to 25 practicing artists from the Australasia region and looking at aspects of textile practice in contemporary art making will officially open at ‘The Art Gallery’ on Monday 6th October at 6:45pm.

Before her sudden passing in 2000, the Australian textile artist Rosemary Lakerink along with two Singapore artists Juliana Yasin and Karee Dahl collaborated on a series of works shown in Singapore Nokia Art 1999 & 2001, and the current CP Open Biennale Jakarta.

She had been tracing the development of the computer binary system of one’s and naughts and its relationship to the textiles medium system of weft's and warp's. For Rosemary and many contemporary textile artists this relationship between technology and art is a long one going back to the Industrial Revolution and further. Textiles, is a rich visual and tactile medium.

In fact it could be seen as being the key player in the current wealth of new technologies and their effective usage in Arts practice – “mesh” proposes to challenge the mindset that places textile practitioners contribution outside current contemporary art discourses.

“mesh” aims to open up and encourage a dialogue and exploration of this key visual medium, to take stock of its contribution to art making and the part it plays in influencing ideas about current art practices.

Wizer and Gower, two artists from different parts of the Australian/Asian region, use their understanding of form and pattern making to analyse and comment on the world’s growing number of consumer, along with their capitalists, and corporate wasters. The works being visually seductive but talking too, about “the amount of stuff” we find necessary to make out daily life function.

Lim Shing Ee’s use of the Peranakan tile in her installation created in the shop house space of Plastique Kinetic Worms in 2002 poses the question how does contemporary art work in a space with such an existing rich traditional visual and history – the restaging of this work in the NIE gallery space continues this questioning– where does the rich Peranakan design element fit in contemporary art. Made more interesting in that this gallery siting is located within the centre of teaching practice

Claire Lim known in the Singapore art scene for her reworking of the soft toy/ gadget/ consumer trophy/ icon reflecting the ‘desires’ of the nation and its concern with material signs of wealth.

Kahler, another participating artist on hearing the news that her son was to go to Iraq with the Australian Army earlier this year literally tore up every remaining sentimental piece of fabric that connected her to her grown son, be it a shirt, sheet or baby blanket that she has stored for many years. The artist/mother then knitted the torn fabric strips into an army camouflage net that she then stretched in front of an enlarged image of her three children to protect or hide them from harm and danger.

Art particularly textiles may have run it’s tangible useful course when it handed over its binary system of the wept and the warp to the naughts and the ones of pixel town… however these practitioners, materials, techniques and traditions continue to develop and scout for ears, eyes and minds that can translate their professional visual communicative medium into constructive yet diverse developments that enhance the cultural constructs of people and societies.

Cut up shampoo bottles remade as a bear skin rug placed on the floor; bold paintings of hands on the circular stretched fabric held in place by embroidery hoops; small canvas’s exploding with a maze of beads, fabric and Chinese New Year lights; an empty grey felt blanket forming a human skin like object much like a snake would shed; pin-striped fabric suit material with the hint of power dressing on painting stretchers; rattan covered arcs rock from side to side, end to end when touched; multitudes of batik dyed cloth of all different sizes and shapes encouraging viewers to choose and to make their own clothes; photographs of a woman constructing bamboo scaffolding empowerment symbolized not by the representation of the physicality of the work being done but the red cloth head dress on the working woman; video documentation of a costume being made/spun by the silk worms as they live their natural lifespan; oil paintings of imagery conceptualised through scientific theories creating natural repetitive yet distinctively unique patterns; pattern drawings on architectural drafting paper constructed with a collage of junk mail – sale catalogues; ink on rice paper a similar soft object that also hangs in the space; canvas and paint resembling Peranakan tiles that reach for the ceiling rather than spanning the floor; the colour of money transformed into pattern on a small girls party dress….. this is the tactile and visual feast one will encounter on entering ‘The Art Gallery’ during the month of October 2003.

For interviews, information or images, contact:

Karee Dahl, kSd//cGr ART PROFILERS or 9618 1642

Serene or Suharti, NTU-NIE Visual and Performing Arts or 6790 3557

... one step further than just doing your own work...

10B Perumal Road
Singapore 218777
Tel/fax: [65] 6299 1764
HP: [65] 9618 1642


Monday, September 22, 2003

jonathan chan * helen ding hong * urich lau * luis lee * paul lincoln * rossalyn tan * willy tay * lydia wong

Opening Date & Time
Tuesday, 23 September 2003

6 pm

Studio 106

106 Joo Chiat Place

Singapore 427833

Tel: 63445925

Exhibition continues until 30 September. By appointment only.

For enquiries and exhibition viewing appointments, contact MFA candidate Urich Lau at 96827214 or

A group exhibition exhibition of works by 8 candidates from the RMIT University Master of Fine Art programme conducted at LASALLE-SIA College of the Arts. The artists will address the unconventional interior space of the basement gallery at Studio 106, through a range of works including paintings, drawings, installations, and video.

Studio 106 is a residential art studio that belongs to the estate of the late sculptor and Cultural medallion recipient, Dr Ng Eng Teng. LASALLE-SIA College of the Arts adopted this space to provide an environment for research and practice, for local and visiting artists and professional working in related fields.


The Embassy of Mexico & Nanyang Academy of Fine Arts
Cordially invites you to the Official Opening of the

Faces of Mexico
Photography by Clade L. T. Ho

Dr Chew Kim Liong
Director, School of Visual Arts
Nanyang Academy of Fine Arts

Friday, 26 September 2003 at 6.30pm
@ NAFA Selegie Gallery
1-A Short Street
Singapore 188210

Dress Code Smart Casual

Exhibition continues 27-2-October 2003
daily from 10am -7pm

In conjunction with the annual Mexico Festival, A collection of black & white photos of people and faces of passionate Mexico will be displayed here in NAFA's Selegie Gallery. There was always a charm and elegance that emanated from these photos, a timeless look and feel that had survived the years of eternity. The crisp details and classic look in each image had an immediate and lasting effect, like looking at a museum piece.

The artistic and romantic nature of black and white photography is perfectly suited to capture the beauty and culture of the Mexico people. Through the lens of Hong Kong Photographer, Mr Claude Ho, this rare exhibition will be showcased at NAFA for the 1st time in Singapore. The Photographer will be present for any interaction at the Opening.


Beyond the Surface: Japanese Style of Making Things

Singapore Art Museum
26 August 2003 - 9 November 2003

Curated by Professor Ryu Niimi, and made possible by the Japan Foundation, this exhibition presents a redefinition of space through interleaving textures, textiles, photographs and installation. Featured in the exhibition are renowned names from each field, including Issey Miyake interior designer, Tokujin Yoshioka, photographers, Miyako Ishiuchi and Michiko Kon, textile and fibre designer, Reiko Sudo and Hideho Tanaka.


Photographica Australis

Singapore Art Museum

14 August 2003 - 9 November 2003

Presenting photographic practices from Australia, this exhibition curated by Alasdair Foster of the Australian Centre for Photography assembles a wide range of photo-artists. The exhibition explores the themes of biodiversity of practices, culture and community, ideals of Australian suburbia, extensions from traditions of art vocabularies and negotiations of identity. As a cross-section of contemporary photographic practices, the works reflect a combination of sensitivities developed from post-modern photo-practices and multicultural gestures.


Convergences of Art, Science and Technology (C.A.S.T)

Singapore Art Museum
9 September 2003 - September 2004

Art becomes the medium through which one can contemplate practices and discourse of science and technology, as well as consider its impact on society. Playful and creative expectations of the future invite your response, while hands-on stations provide interaction for technological interface with science and creativity, including student activities held in conjunction with the exhibition at the Art Lab. The opening installation of the exhibition will feature work by artists, in collaboration with scientists, computer engineers and medical professionals. Their combined wide ranging fields of expertise are a social proposition of a converging future of art, science and technology. A selection of electro-microscopic scientific images captured by researchers of the National Institute of Medical Research (Inserm), France, will be included in this opening installation. These images provide a view of science mimicking art, where images of cells, DNA, neurotransmitters and the brain, appear in unexpected and visually engaging permutations. Among the Singaporean artists featured are Chng Nai Wee and Shirley Soh. This show was curated by Jean Wee.


Drops of the Breeze
Kinetic Sculptures

22nd Agust- 28th September 2003
Esplanade Jendala Gallery

Masato Tanaka was born in 1961 in Yokohama, Japan. He obtained his master's degree in Design from Tokyo University of Arts. Combining art with technological knowledge, Tanaka has focusses on the creation of a series of "kinetic sculptures" that demonstrate that technology not only brings the acceleration of modern life but also contains sense of hidden natural beauty. Although electricity, motors, magnets and solenoids are important components in Tanaka's works, what creates the major kinetic energy for free movement is nature itself, such as the forces of wind or gravity. The beauty of the balancing motions of the works is simultaneously an expression of balancing the stresses of daily. Tanaka seeks to promote a concept he calls "Playground of One's Eyes", using inorganic materials and forms to search for peaceful expression on which the eyes can rest idly for a while, glancing out from the corners of daily life.

Since 1994, Tanaka has worked with the theatre artist Hiroshi Koike as a producer of stage devices and object designs.


Sunday, September 21, 2003


Teo Huey-Ling
Tan Ai Ngin
Tay Swee Siong
Tey Su Gurn

opening on Frday 26 September 2003, 6.30pm

Guest-of-Honor, Ho Kah Leong, Executive Director, NAFA International Pte Ltd

Middle Gallery, NAFA, 111 Middle Road, Singapore 188969


The Hopea Sangal Tree Sculpture Symposium

Date : 2 September - 2 October 2003
Time : 09.00am - 05.00pm
Venue : Nanyang Academy of Fine Arts
Wilkie Campus
11, Upper Wilkie Road
Singapore 228120

The Organizer : Sculpture Society (Singapore)

The Co-organizers : National Parks Board
Nanyang Academy of Fine Arts

Supported by : Nature Society (Singapore)
Urban Redevelopment Authority

Enquiries : Wang Ruo Bing (Ms)
9004 9667
Han Sai Por (Ms)
Jeremy Hiah (Mr)
9787 7874

The Objectives
l To learn about nature through art making
l To raise the awareness of our natural heritage and its conservation
l To use art to express environment issues

The Concept
A total of 150 years, which is from 1852 to 2002, will be carved on the nine pieces of the remaining trunks. The pupils and public will have an opportunity to work with 9 sculptors
in Singapore to present historical vignettes of the period spanning 1852 to 2002. For example, the spectator may be interested to trace the historical events in 1972, the year in which he/she was born; 1914 where the first world war occurred; 1953 when the structure of DNA was discovered; 1965 when Singapore separated from Malaysia and gained independence and so on. Invited people may interact with the sculpture to find
out more about the year he/she may relate to.

The sculptors will try to preserve the appearance of the Hopea Sangal tree trunks as original as possible. It is important to retain the natural look of the tree trunks to allow
the public to appreciate the original character of the Hopea Sangal Tree.

6 - 14 September
09.00am - 05.00pm

Open to public, they can visit the working site
and talk to the artists

Public can also visit the site by appointment.
Only after the above mentioned date.

Sculptors' Working Schedule
Time : 09.00am - 05.00pm
(Lunch break : 12.30pm - 01.30pm)
2 September - 5 September
Preparation of wood, take off tree bark, cutting away unwanted or damaged part of wood. Outlining the design.
6 September - 21 September
Work in progress
22 September - 30 September
Finishing touch, filing
29 September - 31 September
Clear up and set up for exhibition
2 October
Closing night party