Singapore Biennale 2006
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Saturday, July 03, 2004
Flowerism
Ye Ruoshi's first solo painting exhibition
Thursday 1st July 2004 7 pm
Utterly Art Exhibition Space
208 South Bridge Road 2nd Level, Singapore 058757
Tel: 6226 2605 E-mail: Type utterlyart followed by @pacific.net.sg
Mon-Sat 11.30 am - 8 pm
Sun 12 noon - 5.30 pm
The exhibition runs to Sunday 11th July 2004.
One has heard of Impressionism, Surrealism, Cubism and Fauvism…why not Flowerism? This delightful first solo painting show by Ye Ruoshi will be an installation of more than 100 small (1 ft x 1 ft) oil paintings based on (you’ve guessed it!) flowers! But Ruoshi focuses on close-ups of their central interiors, seeking out the mysteries hidden in their sensual depths, and giving of her own interpretation through expressive distortion and imaginative colouration. In this way, her paintings transcend their floral origins to become gems of vibrant and sensual abstractions, although the effect of stepping directly into a gigantic bouquet when one enters the gallery should not be lost.
Priced at $388 each, this will be a good opportunity for budding art collectors to acquire an original oil painting at very affordable prices. The uniform small size of the paintings has a modularity that may allow collectors to mix and match their personal favourites according to their tastes and budget, and this may encourage painting ownership for first-time buyers.
Supported by:
Angkatan Pelukis Aneka Daya
Association of Artists of Various Resources
For more images, visit www.flowerism.com
UTTERLY ART is nominated for the Spirit of Enterprise 2004 Awards! Visit the Spirt of Enterprise website at www.soe.gov.sg, register and vote for Dr Pwee Keng Hock of Utterly Art if you think we deserve it!
Dear Publisher / Editor
The Arts House launches its guided tours today 1 July 2004.
These tours are conducted from Mondays to Fridays at 11 am and 3 pm for groups of up to 20 people (per group).
Each tour lasts 45 minutes and includes a short video of The Arts House and a drink (tea / coffee/ soft drink).
The guided tours come at $8 per person.
Visitors may also avail themselves to our special GuidePort tours at $5 per person (inclusive of a free drink) which will allow them to browse through the House at leisure.
Those interested can call 6 332 6900 to book their tours today.
In the meantime, please visit www.theartshouse.com.sg or call Mary Lee at 6 332 6903 / mary_lee@toph.com.sg should you need more information
Kindly list the availability of our tours in your publication.
Thank You.
Karen Peck
Marketing Executive
The Arts House at Old Parliament House
1 Old Parliament Lane
Level 2, Annex Building
Singapore 179429
Office: 63326915
Email: Type Karen_PECK followed by @toph.com.sg
Past.. Present… Future… Singapore in One House
Come down and discover The Arts House at The Old Parliament, Singapore’s newest multidisciplinary arts and lifestyle space transformed from its oldest surviving government building.
Located at the site of the home of the former Temenggong, just where Stamford Raffles landed along the north bank of Singapore River, the 178 year old historic building, originally built as a home for a Scottish merchant, served as its first Court House, Supreme Court, Assembly House and the Parliament House where the most important decisions that shaped Singapore were made.
Renamed and re-launched The Arts House, the building combines the charm of colonial architecture, the intimacy of a home with cutting edge contemporary visual arts, music, dance, film, comedy and theatre by Singaporean and international artists. Walk down the Corridors of Time, an exhibition reliving the life and times of the House and its many famous personalities. Add the experience of modern Thai fine dining at Restaurant 1827 Thai or alfresco dining at Café Society before a show and chill out at the wine bar upstairs and you are guaranteed days and nights to remember.
Guided Tours are conducted from Mondays to Fridays at 11 am and 3 pm for groups of up to 20 people (per group). Each tour lasts 45 minutes and includes a short video of The Arts House and a drink. No admission charges apply. Tours at $8 per person.
Arrangements can also be made for guided tours at other times.
Visitors may also avail themselves to our special GuidePort tours at $5 per person (inclusive of a free drink) which will allow them to browse through the House at leisure.
For more information, visit www.theartshouse.com.sg
Directions to get to the Arts House from Raffles Place and City Hall MRT Stations:
By MRT: From Raffles Place Station, take exit H and walk across Cavenagh Bridge. From City Hall Station, take exit B (in front of Capitol Building), turn left, and walk towards Funan Centre and turn left again upon reaching the present Parliament house. From Clark Quay Station, take exit E, cross the road in front, then turn left, upon reaching the Singapore River, turn right and walk towards the Victoria Memorial Clock Tower.
By Car: Enter via 1 Old Parliament Lane. Parking spaces available at the current Parliament House, High Street Centre, The Adelphi and the road side along Empress Place
By Bus: North Bridge Road (Opposite Funan Centre or Outside MITA Building): 32, 51, 61, 63, 80, 103, 124, 145, 166, 174, 195, 197, 603, 851, 961
Collyer Quay (At, or Opposite Clifford Pier; Fullerton Square; Opposite Singapore Cricket Club or outside Victoria Concert Hall): 10, 70, 75, 100, 107,130, 131, 162, 167, 196, 605, 607, 608
Readymade Projects (Pte) Ltd
Founded in January 2004, Readymade Projects is an itinerant curatorial and arts management platform who works with museums, galleries, cultural institutions, collectors and artists to develop art exhibitions and creative products at the forefront of contemporary creative culture.
Email: Type hitme followed by @readymade-projects.com
Putri Trisulo, Founder & Director
65) 9848 7158
www.readymade-projects.com
Address: 112 Grange Road, Singapore 249597
Sculpture Society (Singapore)
5 Madia Vale
Singapore 798680
Sculpture Society Annual Show
Sculpture Society is planning an exhibition for the members. This exhibition will under a curatorial selection, which is intended to maintain a high quality of the exhibition.
Concept
The theme of the exhibition will focus on places and identity. Myths, legend and historical current and future perspective of the spaces suggests that the difference between one place and another; or personal experience of the place. (E.g.: responds to a place where you had been bought up or currently where you stay. It could be at Woodland, Seletar Toa Payoh and etc.) We expected that your work is integrating with the places that may share the experience with many others. We hope this exhibition can draw the public interest and to understanding the culture in our heartland Singapore. If the work is good and strong, we could help to promote it to the Town Council.
Nature of Work
Various three dimensional art works.
Size minimum: 3feet/90cm
The show will come into two phrases:
One group exhibition in the city area
Individual work of the artist’s town area.
The suggestion titles as following
• Place & Identity
• Mile Stone
• Spirit of a place
Submission Date
15/7/2004 to 31/7/2004.
Selected artists will be notified. Tentatively date of the exhibition will be in end of November.
Venue (tentatively)
Open space land opposite Raffles Hotel next to Carton Hotel
Mita Indoor and Outdoor (park near to the café.)
Old NAFA Middle Road.
Orchard Road.
Sculpture Square
Takashimaya Shopping Complex
My Favourite Basheerian: Collect Them All!
(Now available FOC at Basheer Graphic Books)
Hailed as the 'Ministry For Design Information', Basheer Graphic Books has been a great source of inspiration for many award winning and amateur designers alike. Now please stand, as we pay tribute to the people who have worked so hard behind the scenes and brought us publications that have changed our perspective of the world. So go on down to Basheer, get your photo frames ready and make wall space for your favourite Basheerian. Collect them all!
~~ a pigscanfly photography project for basheer graphic books. design direction by H55.
Dear All,
Gajah Gallery has a new selection of artwork which includes lacquer and oil paintings of Vietnam.
Featuring its people, land and dreams, the works are executed by some of Vietnam's most talented
artists - Ho Huu Thu, Nguyen Trung, Bui Huu Hung, Dinh Quan and Hong Viet Dung.
This selection also includes a painting by established artist Mangu Putra. An artist who first explore the
world of graphic design before venturing into canvasses, Mangu is regarded highly for his works on nature
and his unique technique - which draws the viewer into the work and its emotions.
Do contact us on 65_6737 4202 for more information.
Please click on the link to view the works on-line:
http://www.gajahgallery.com/nlla.asp
Gajah Gallery
_________________________________
MITA Building 140 Hill St #01-08
Singapore 179369
T:65_6737 4202
F:65_6737 4203
www.gajahgallery.com
Mon - Fri: 11am_7pm
Sat - Sun&Ph: 12pm_6pm
Steven Wong participates in "100 Artists see God", curated by John Baldessari and Meg Cranston.Independent Curators International.
www.ici-exhibitions.org
Venues
The Jewish Museum San Francisco, San Francisco, CA
March 3 - June 27, 2004
Laguna Art Museum, Laguna Beach, CA
July 24 - October 3, 2004
Contemporary Art Center of Virginia, Virginia Beach, VA
June 9 – September 4, 2005
(Tours through spring 2005; additional venues to be announced)
To Turn A Bliind Eye: On The Works of Khiew Huey Chian
Date: Saturday, July 10, 2004
Time: 2.30 p.m.- 4 p.m.
Venue: Plastique Kinetic Worms, 61 Kerbau Road
The artist will be making a 15 minute presentation of his body of works. This will be followed by a round table discussion.
Discussants:
Venka Purushothaman, Arts Writer and Senior Lecturer, Lasalle-SIA College of the Arts Loh Sze Wee, Curator, Singapore Art Museum Ye Shu Fang, Artist Clara Chow, Arts Correspondent, Straits Times (to confirm)
Enquries and registration with Jaclyn: 6 292 7783 or email type admin followed by @pkworms.org.sg
The Exhibition: To Turn A Blind Eye by Khiew Huey Chian is extended to 17 July (5 p.m.)
TO TURN A BLIND EYE
Solo Exhibition by Khiew Huey Chian
Plastique Kinetic Worms
Exhibition Extended to Saturday, July 17, 02. (5 p.m.)
Gallery Hours: 11a.m.-6 p.m. Tuesdays to Saturdays
Conversation with Khiew Huey Chian
The writer, Octavio Paz, made mention of the “transformation” in Picasso’s paintings as revealing of “our time as one which affirms itself only be negating itself and which negates itself only in order to invent and transcend itself”.
Transformation is very much a part of Khiew Huey Chian’s oeuvre. His methodology begins with his selecting an image or images. Thereafter, he may, in his own words “crop, interchange, displace, repeat, enlarge, juxtapose “ the familiar and instantly recognisable to produce a new, surprising whole. What do Khiew’s work tell us of our times?
Dana Lam for PKW: Maybe I’m overly sensitive but times being what it is, you know, Iraq for instance, and our complicity in supporting that war… I was wondering if you were aware that your title might be taken for political or social commentary? You know the meaning of ‘to turn a blind eye’, are you in anyway commenting on our time?
Khiew Huey Chian: I could be. But, there again, not directly. I do not want to make statements with my work. But I cannot deny my work may actually be a kind of subconscious response to the negativity currently around us which I am aware of.
DL: How does the ‘negativity’ make you feel? And how do you think this might be reflected in the work?
KHC: Welcome to Waste Land came from my chanced reading of a newspaper story about an incident at a landfill. The story was about how a worker was sacked for speaking honestly! It was accompanied by a photograph of the landfill—where all our waste/rubbish is dumped. I was struck by how beautiful it looked! It inspired me to make a piece about that beauty. But I think, there is also a melancholy about the piece, if you look closely at it.
DL: Which brings us to how you title your work. ‘I Don’t Understand’ , ‘Mirror’, ‘Welcome to Waste Land’ …seems pregnant with meaning and commentary.
KHC: I don’t pre-determine what the work should say. I start with an image or groups of images. I play around with them. Maybe I crop them, interchange, displace, repeat, enlarge, cover a certain part, recombine different images…in order to extend the image. I find the narrative as I work.
DL: And the found narratives provide the titles. But don’t you think your titles exert a strong influence (I would say almost instructional influence) on how we are to read the works? Welcome to Waste Land maybe read as ironic, for example.
KHC: Not necessarily so because if I don’t tell you my side of the story, it is impossible to read it literally because the title does not give a complete instructional. Well at least that is what I think. The fact that you ask me why the title already indicates that the title is somewhat indirect to the work.
DL: Do your works engage at all with theoretical concerns about paintings?
KHC: I was always and still am very conscious that the medium and material are very important. My earlier works were very disciplined. They were made according to something of a formula - step-by-step, layer by layer. I even took notes of the percentage of dilution, how much water produces what sort of effect on the paper or, what percentage of cobalt blue with what percentage of madder red, for example.
DL: This is reminding me of the show, Process Painting, recently at Earl Lu.
They were all very formulaic (Tori Begg calls them recipes). Do you think you have similar concerns?
KHC: I was interested in finding out ways to manipulate the medium. I always make sure I have a certain understanding about the medium first. Experimenting with different approaches before a decision is made to work out a body of works with it.
DL: So, I’m trying to figure out if there is a difference in concerns between what you were doing and what the painters in Process Painting are doing. I get the feeling you’re after different things, even though the methodology may be similar. Seems to me they were about ‘how to make a painting’ and you’re more about ‘how to stretch your medium’ . Or am I splitting hairs here?
KHC: Stretching the medium, exposing the different layers of medium so that process is transparent, challenging my self the way I deal with the images. These are just some of my concerns. Like I mention earlier in my conversation, I find my past approach in working repetitively very unnatural, unreal. I am trying to approach making as close to the ways I look at things, react to them differently at any one moment.
DL: Who were your art history influences at the time, do you remember?
KHC: My inspiration is quite wide so it is difficult to name them without sounding like some people are more important than others I don’t mention.
DL: You mentioned a need to feel in control…
KHC: Control is quite crucial to my work. To the extent, I have to know I am going to be able to pick myself up even if I’m going to fall and make a mistake.
DL: How does this square with the notion of the ‘free spirit’ and risk-taking being an imperative of the creative process? Or are those myths?
KHC: I believe my way of controlling allows things to happen. It is almost like you need to prepare yourself for worst scenario so that you will be able to pick yourself up. What is the point of experiencing a great fall and not able to pick it up and learn from it where you go deeper and deeper into depression?
DL: You also mentioned preferring to work more ‘naturally’ now. Would you explain that a little more?
KHC : I found the earlier formula method was too ‘un-natural’! It’s a very mechanical, academic approach. I don't want to lose the human touch. With the current works, I’m using gesso on raw canvas. As you know, gesso is usually what you use to prime canvas with. It goes unnoticed, usually. Hidden. In exposing the material I’m also exposing the method of making paintings.
DL: Let’s talk more about the current works. What is the significance of the silhouettes? They make me think of Picasso’s take with the guitar, the compressed plains.
KHC: Picasso was a big eye-opener during my student days. If anything, the influence is an unconscious one. The silhouettes…are to make abstract what is otherwise representational. I’m interested in being in between the representation and the abstract. Abstract the representation to re-represent.
Some people have commented on my choice of images. The rubber plant, for example, which you don't see in paintings, brings back a sense of nostalgia yet the approach is quite refreshing.
DL: And Orchids! Isn’t it brave to be painting orchids? Do you worry about not being taken seriously? That’s a contemporary art issue, isn’t it?
KHC: The inspiration for painting orchids came from my visit to a friend in HK who grows these orchids. He has every variety you can think of. I draw from photographs of these orchids. I don’t think of it as being brave. I work with the plethora of images that hit us everyday, some remaining in the periphery of our consciousness –orchids, airplanes… This is what I mean by working ‘naturally’ as opposed to working with a tight academic/theoretical art focus.
DL: So, you’re not worried about them being dismissed as insignificant, for example?
KHC: Working ‘naturally’ this way, doesn't mean that the work is not researched. In any case I’m more interested in providing a sort of visual transition for the viewer to discover something she/he did not see at first. I’m more interested in creating little surprises and the pleasure of the discovery. Something that could keep myself and the audience interested in finding out more about the works I have presented here.
DL: Thank you.
There will be an artist presentation and roundtable discussion of Khiew’s works on Saturday 10 July, 2004. At Plastique Kinetic Worms, 61 Kerbau Road.
Limited Seats. Pls register with Jaclyn: 6292 7783 or email type admin followed by @pkworms.org.sg before July 10.
Friday, July 02, 2004
Esplanade - Theatres on the Bay announced today the addition of a virtual tour to its website. At www.esplanade.com, Internet users who cannot travel to the Centre will be able to wander through Singapore’s national performing arts centre online, and gain a sense of its stunning halls.
Please click on the following link for the press release with further details. http://www.esplanade.com/apps/campaign/press/VirtualTour_PressRelease.pdf
Communications Manager
The Esplanade Co Ltd
Tel: +65-6828-8313
Mb: +65-9683-0097
Monday, June 28, 2004
Address: 32 Maxwell Road #01-05A WhiteHouse Singapore 069115
Artgroup: Media Hive Pte Ltd Digital Media Hub
City: 069115
Media Hive Digital Media Hub is Singapore's first practical filmmaking center that devotes to media education and practical skills training for amateur as well as for industry professionals. Our strong link to the industry is a bonus for those who wish to leverage on our courses to get into the real world of filmaking and televisio production industry.
Email: Type Tony followed by @mediahive.org
Name: Tony Chow
Phone: 62234420
Url: www.digitalmediahub.org
You are cordially invited to
The Culture Society
Art, Sculpture, Poem & Photography Exhibition 2004: CROSSING BORDERS
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Opening Ceremony: Sat. 10th July 2004 1.00pm – 3.00pm
12.00pm: Arrival of Guests & Social Networking.
1.30pm : Arrival of Guest-of-Honour, Mr. Chan Soo Sen, Minister of
State for Ministry of Community Development and Sports and
Ministry of Education.
1.35pm : Welcome Speech by Art Culture Club President and Organising
Chairperson, Ms. Irene Hong
1.40pm : Message by Susan Buxton, President of Baulkham Hill Art
Society, Australia
1.45pm : Speech by Guest-of-Honour, Mr. Chan Soo Sen, Minister of
State for Ministry of Community Development and Sports
and Ministry of Education.
2.00pm : Open Ceremony by Guest-of-Honour, Mr. Chan Soo Sen
Presentation of Tokens of Appreciation
Tour of Exhibition
Reception
ART APPRECIATION:
3.00pm: Finger Painting: Talk & Demonstration by Lim Sue Luan (Guest Artist)
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Exhibition Dates: Sat. 10th July 2004 – Tues. 13th July 2004
11.00am – 6.00pm Daily
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Exhibition Venue: MITA ARTrium, 140 Hill Street Singapore 179369
Admission: Free
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CROSSING BORDERS: an exhibition of art works by members of The Culture Society who come from all walks of life and different countries but all linked together in their love for art and creativity. It is an exhibition with a focus on building bridges to strengthen national and international ties of friendship and understanding with frequent art exchange programs. It has taken members to countries like Japan, Sri Lanka and Australia.
This exhibition will showcase the works of participating artists in painting, sculpture, poems and photography.
******************************************************************************Part of the sale proceed will be donated to Community Chest of Singapore
Participants:
Artists: Irene Hong, Florence Shen, Winnie Cheong, William Ee, Lim Poh Lai, Mo Ni, Lidia McEachern Mei Ying, Silvia I. Nett-Fisher, Simon Wee, Christian Debenest, Diana Chan Phoe, Sharifar Adilah Almashoor, Susan Buxton, Elsie McEven, Annette Dorahy, Kathy Heyer, Shanti Kugenthiran, Mary Ellison.
Sculptor: Sun Yu Li
Photographer: Angela Lee
Poets and Amateur Photographers: May Boey Yut Mei, Lee Liang Hye
ART, CALLIGRAPHY, SCULPTURE, POEMS AND PHOTOGRAPHY
EXHIBITION HELD AT
MITA ARTrium
MITA Building, 140 Hill Street, Singapore 179369
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ARTISTS SPEAK : Sun 11TH JULY 2004
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11.30am: Chinese Brush Painting by Irene Hong
12.00noon: Art Appreciation - Tips on collecting art by Terence Teo (in Mandarin)
12.30pm: Understanding the art of Christian Debenest by Winnie Cheong
1.00pm – 2.00pm: LUNCH BREAK
2.00pm: My experience with acrylic and fabric painting by Susan Buxton
2.30pm: My work with Oil by Elsie McEwen
3.00pm: Water colour painting and demonstration by Annette Dorahy
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Daily: Sat 10/7/04 – Tues. 13/7/04: Daily 5.00pm – 6.00pm: MEET THE ARTISTS
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