The Pocket Arts Guide #39 - May/Jun 2013

MAY/JUN 2013 ISSUE 39
ONE WITH ART

MAKE SPACE FOR THE NEW
TPAG / www.thepocketartsguide.com
TPAG ISSUE 39 MAY/ JUNE 2013
CONTENTS
32 16 26 36
42 46 50
54 58 60
64 76 70 80
04
EDITORS LETTER
06
ART EVENTS
16IN THE LIMELIGHT

Destination Art
54 DIALOGUE
Symbol of Freedom
58 DIALOGUE
The Mask We Wear is One
60 UP AND COMING
Young at Art
26 IN FOCUS
Come What May
32 GLIMPSE
Contemporary Picks
36GLIMPSE
The World According to Toro
64 SNEAK PEEK
Art World Charm
70 PERSPECTIVE
Paradise Found
76 PERSPECTIVE
Just For You
42 GLIMPSE
The Score
46 DIALOGUE
Outer Space
50 DIALOGUE
The Art of Science
80 ART FOR GOOD

Peak Gratitude
86 MAP
Art galleries in Singapore
90DIRECTORY
LISTING
96 ART
CLASSIFIEDS
02 03
EDITORS LETTER
ISSN 2010-4375 / MICA (P) 172/03/2012
YOO SUN TAI
Dear Readers, The months of May and June often bring vivid scenes grassy grounds littered with Aprils blooms, pre dawn drizzles, warmer afternoons and of course a bumper crop of art shows. And if you are in Hong Kong during this time, you are in for a treat. Hong Kong in May is absolutely frenetic with fairs indoors and outdoors there is the Art Basel, Asia Contemporary Art Show, Bank Art Fair and so on. When it comes to whats and whos new and exciting, Hong Kong has a lot to offer right now. From big international events to cosy hotel showings, the art society be it the social butterfly to the shy observer will be kept very busy flitting from venue to venue. We also find out from some of the gallery folks in Hong Kong what shows or artists you should be making a bee line for. There are also several launches and parties to complement the big shows; like those happening at the latest art venue, Art One, which is a mere stones toss away. It serves up yet another mode of art appreciation in a more casual setting. Id like to think of it as a tapas bar for art informal, tasty, lots of variety, good for sharing and very sociable! The lines between art, design and decoration are delightfully blurred here theres even a showroom dedicated to homeowners who want to include art in their refurbishment plans. I am quite sure the occasional art voyeur will feel quite at home here. Inside this issue, we catch up on what the young talents are producing, especially in Taipei during the Young Art Taipei 2013, and take a look at the mixed media works of young Filipino artists exploring the idea of paradise and homeland. We also cross the immediate border to catch the jamming sessions between Singapore and Malaysia creatives at the CausewayEXchange Arts Festival. So really, its time to get online to book your flights, accommodation and get fancy. Things are looking rather festive, so lets get going, shall we?
Editor Valerie Wee editor@thepocketartsguide.com Art Director Herman Ho herman@thepocketartsguide.com Contributors Cassandra Naji, Gayle Goh, Rachel Smith, Richard Chua Advertising / Sales: sales@thepocketartsguide.com Strategic Marketing / Event Partnership: mktg@thepocketartsguide.com Distribution & Circulation: admin@thepocketartsguide.com Press Releases: pr@thepocketartsguide.com Hong Kong Contact: Sally Lee +852 9095 6316 sallylee@thepocketartsguide.com Website: www.thepocketartsguide.com Facebook: www.facebook.com /TPAGthepocketartsguide
On The Cover: Qing Yan Yin Zhaoyang
The Words (2012) Yoo Sun Tai 53 x 65cm, acrylic
MAY/JUN 2013 ISSUE 39
Valerie Wee
Editor
ONE WITH ART

A TASTE OF THE NEW
TPAG / www.thepocketartsguide.com
TPAG ISSUE 39 MAY/JUNE 2013
ART EVENTS
Cheong Kwang Ho: The Treachery of Sculptures 03.05.13 29.06.13 Galerie Steph www.galeriesteph.com Singapore Korean artist Cheong Kwang Ho debuts his first solo show here in Singapore with delicate sculptures made from thin copper wires. Lacking the sense of mass conventionally attributed to sculptural works, Cheong is dedicated to creating what he calls non-sculptural sculptures. His is a remarkable aesthetic that emphasises emptiness, a visual rejection of horror vacui fear of empty space that lies at the base of Western sculpture.
Vision: The Perspectives of Nguyen Tuan and Naoka Tosa 19.04.13 19.05.13
MAD Museum of Art & Design
Young Art Taipei 2013 17.05.13 19.05.13 Sheraton Grande Taipei Hotel www.youngarttaipei.com Taiwan The fifth installation of Young Art Taipei Contemporary Hotel Art Fair is one of the first Asian hotel art fair that focuses on young and emerging artists under the age of 45. Its aim is to create a delicate, dynamic and elegant platform that will include 60 international galleries attending. Also incorporated is a pre-sale exhibition for exhibitors YAT13 Preview Tour as well as the Young Art Award that aims to lend recognition to the young stars of the art world.
A Brush With The Future 13.05.13 17.06.13 Galerie du Monde www.galeriedumonde.com Hong Kong New works by internationally acclaimed artists and brothers Qin Chong and Qin Feng that explore the spirit and future possibilities of ink painting. Although distinctive in style, they both integrate a variety of mediums in their creations and manage to present the contemporary audience with a broader perspective of ink painting. The embodiment of traditional Chinese culture and some western techniques of painting can be seen in their works.
A Scene from a Memory 09.05.13 15.05.13 Ode to Art www.odetoart.com Singapore A Scene from a Memory is set to be an unforgettable stamp of the Korean contemporary art scene in Singapore. With a roster of 16 internationally exhibited artists who have redefined the concept of scenery in their individual styles, the exhibition will showcase a unique and pleasantly surprising array of artworks that will transform how the audience perceive nature and their surroundings.
Nuit Sano: Abstract In Blue 20.04.13 20.06.13 Nikei Fine Art www.nikeifineart.com Singapore Japanese artist Nuit Sano will be presenting her latest work at the gallerys Sentosa Cove branch. The 80-year old artist is renowned for her prominent use of blue in bold brushwork in her paintings. Over the decades, she has transitioned from dark, deep shades to pastel hues. Today, the artist continues strongly with her signature style that is rich with a palette of shades that many in Japans art world have now defined as Sano Blue.
www.madmad.com.sg Singapore In a joint exhibition, Asian sculptor Nguyen Tuan and mixed media artist Naoko Tosa showcase their vision for life and the search for peace and happiness. While these two artists are very different in their styles, techniques and creative experiences, interestingly enough, they have produced a series of work that runs parallel in perspective and thought.
06 07
ART EVENTS
Mommy Daddy: Art for the Love of Parents 08.05.13 15.06.13

The Gallery of Gnani Arts
Ivan Mora: Fragile Fabric 12.05.13 12.06.13 The Gallery@TCC www.art-management.com Singapore An Artist in Residence in late 2012 at the AGS Glass Studio, Ivan Mora creates sculptures and installation as high fashion artefacts. During the residency he designed and made artworks that he is now exhibiting in galleries and fashion shows. He created a number of wedding dresses in collaboration with Malaysian Designer Celest Thoi. His unique pieces incorporate glassmaking processes including engraving; printing on decal paper, ceramic pencils and silk screened glass powders, sand blasting and kiln firings.
Art Basel Hong Kong 2013 23.05.13 26.05.13 Hong Kong Convention and Exhibition Centre (HKCEC) www.artbasel.com Hong Kong The first edition of Art Basel in Hong Kong will have 245 of the worlds leading galleries participating to present the highest quality and presentation of art from over 3,000 artists ranging from young stars to the Modern masters of the early 20th century all over the world. This much anticipated show would be divided into Galleries, Insights, Discoveries and Encounters.
Asia Contemporary Art Show 23.05.13 26.05.13 JW Marriott Hotel www.asiacontemporaryart.com Hong Kong Held concurrently at the same time as Art Basel Hong Kong, the Asia Contemporary Art Show is expecting a sell-out with over 70 art gallery exhibitors and more than 2,000 works for show and sale spread out amidst four full floors of specially curated rooms at the 5-star JW Marriott Hotel in Pacific Place. The focus is on original works, limited editions, sculpture and photography. Collectors can expect to snare gems from young, emerging to mid-career artists at still accessible sticker prices.
Art Futures Group Presents Liu Li Guo Art Exhibition & Cocktail Party 24.04 .13 31.05.13 Art One, Art Futures Group www.artone-hk.com Hong Kong Leading investment broker for Chinese contemporary art, Art Futures Group will be displaying a collection of 40 paintings by artist Liu Li Guo at its gallery at Art One in Wanchai. The artist will also make a special guest appearance for the cocktail event on May 15th. Based in Beijing, Liu Li Guo is celebrated for his trafficking imagination series. His surrealistic style is often compared to Gaudy Art with bold use of colour in his work and his choice of nature subjects is always symbolic and expressive.
Dust and Glory : Joint exhibition of Fang Lijun and Yin Zhaoyang 24.05.13 20.06.13 Art One, Eastation Gallery www.artone-hk.com Hong Kong As well-known contemporary artists, Fang and Yin are suffering the pains to move on from their existing artistic achievements in recent years. Just like two old fighters standing on the battlefield after war, watching the setting sun on the horizon, and appreciating the constant of life and the grandness of silence. Only Jorge Luis Borges' Sepulchral Inscription can be the footnote of that moment: "Now, he is a handful of dust and glory."
www.gnaniarts.com Singapore Enjoy artworks that celebrate the unconditional love given by each and every parent to their children. Mommy Daddy Exhibition will be presented in conjunction with Mothers Day and Fathers Day celebration.
08 09
ART EVENTS
Assemblage: Chun Kwang Young 29.05.13 27.07.13

Art Plural Gallery
24/7 at Sculpture Square features Nguan Till 28.06.13 Sculpture Square www.sculpturesq.com.sg Singapore
Special Thanks to...:Max Bashev 27.03.13 01.06.13 11.12 Gallery www.11-12gallery.com Singapore The Max Bashev exhibition features paintings in his characteristic neodada style with a wide range of mediums. He draws inspiration from classic masterpieces by Vermeer, Da Vinci and other masters from the past and provides a remake with his own interpretation. They are provocative, cynical and marry hauntings of the past with modern societal issues.
Soundwaves by Tim Wakefield 26.04.13 31.05.13 Icon Gallery www.icongallery.sg Singapore Tims stunning contemporary sound wave artworks are originally signed by the music legends whose songs the pieces have been created with including Coldplay, The Clash, The Killers and Pink Floyd. His work combines music and technology, thus capturing the digital heartbeat of some of the worlds most iconic music.
Ties and Fragrant Lies 04.06.13 29.06.13 One East Artspace www.oneeastasia.org Singapore 8 young Thai artists tap on the genre of figurative painting to reflect on the allure of urban life and expose its contradictions in a land best known for their export of fragrant rice, thousand smiles and spiritualism. This exhibition launches a new generation of painting talents emerging out of renowned art institutions in Thailand such as Silpakorn University. These artists are selected by curators Woho Weng and Joey Soh.
Camping and Tramping Through the Colonial Archive: The Museum in Malaya
www.artpluralgallery.com Singapore Wandering the coasts of American and European abstract expressionism in the early 1970s, Korean artist Chun Kwang Young has been looking for a way to express more. Shaken by the confrontation between dreams and reality darkening the American political and social landscape in which he studied, the artist had a revelation in 1995 when he rediscovered Korean mulberry paper. Since then, he has been embracing this technique creating triangular parcels loaded with singular messages and applied on the surface of the canvas.
Till 02.06.13 NUS Museum www.nus.edu.sg/cfa/museum/ index.php Singapore The term Camping and Tramping is inspired by a lesser known 19th century document compiled by a British officer describing the field work and travails of his time with the colonial office in Malaya. This exhibition traces the rise of the Museum in British Malaya not just as an indicator of power over what was gazed upon as the exotic but by acknowledging that the very advent of the Museum resulted in a staging ground for a project of accumulation and the ordering of knowledge.
Nguans photographs contemplate life as it unfolds in big cities today. His work examines everyday moments and interactions in the worlds most congested streets and public spaces. For this specially curated series of photographs, Nguan roamed the neighbourhood around Sculpture Square. The images he turns in would serve as an ode to the strangeness and beauty of ordinary life in a city that rarely halts to listen to its music.
10 11
Zoological Till 19.05.13 Gallery 2902 www.2902gallery.com Singapore Featuring photographs, video and installation works, the exhibition surveys the human imprint on the urban landscape through various vantage points. The act of photographing serves as a form distanciation amid the numbing monotony and frenetic pace of city life. Within a framed situation, a space of meditation between the photographer and his subject emerges. Besides blurring boundaries of power and position, Zoological also implies an order of disorder, artificial nature and tamed wilderness, and an exoticism that is uncannily familiar.
Bank Art Fair 23.05.13 26.05.13 Island Shangri-la Hotel www.bankartfair.com Hong Kong Another art fair held in the comforts of a hotel venue during the art buzz of Art Basel and other key fairs in May, the Bank Art Fair will interface artists and representing galleries directly with commercial sponsors and patrons. This year being its debut in Hong Kong, BAF 2013 will be providing mid-career artists from ages 30-40 with exhibition platforms, mentorships with younger artists and international media coverage. The new fair also plans to showcase the talents from one university of the arts from a participating exhibitor's home nation.
Yun Yong Wook 24.05.13 29.06.13 Gallery Baton www.gallerybaton.com South Korea Thousands of small plastic pieces in the size of a little fingers knuckle are elaborately arranged in order to make us think again about the value of light as a secondary medium that supports the visual reality of art. Light is a necessary element of the artist's works. In this case, the necessary part refers to the lights effect as an active element, with it playing a more active role than its position taken in the usual works on canvas.
Colours of Our Generation 20.06.13 23.06.13 CausewayEXchange Arts Festival, Sekeping Victoria www.causewayexchange.com Malaysia Singapores contemporary artist Justin Lee is known for his witty, thoughtful pop art works, in which he would combine Chinese motif with Western visual language. But beyond the bubbly exuberance of his pop art, Justin subtly creates an underlying awareness of our current societal condition as he tackles themes like consumerism, Asian identity, Chinese tradition and Western influence on the East. Also at the exhibition are works by Khairullah Rahim, Luke Heng, and Ade Putra Safar, three young undergrads from La Salle.
The Peranakan Silence: An exhibition by deaf artists 20.06.13 23.06.13 CausewayEXchange Arts Festival, Peranakan Mansion www.causewayexchange.com Malaysia The colours, culture and lifestyle of the Peranakan are retold by deaf artists in this art exhibition, the result of collaboration between The Singapore Association of the Deaf (SADeaf) and The Intan, a heritage museum-gallery in Joo Chiat. The artists are graphic artists Tan See Mui, civil engineering structural designer Nicholas Eaw, students Angeline Chan and Issac Liang and Mimi Ng, a freelance cartoonist.
Satori Blues by Cyril Wong 22.06.13 CausewayEXchange Arts Festival, Sekeping Victoria www.causewayexchange.com Malaysia Satori Blues is Cyril Wong's longest and only Zen-inspired poem to date. The poem is a response to writings by teachers of Buddhism and postBuddhist philosophies. Composed as a stream of thought at times epigrammatic, philosophical, fragmented, and even exclamatory words become a movement within a space of mediation, as well as a yearning towards truth and clarity. The poetry reading is followed by a moderated dialogue session for poets and aspiring poets.
12 13
ART EVENTS
Poems on Autumn Leaves: Contemporary Hainanese Opera 21.06.13 22.06.13 CausewayEXchange Arts Festival, YAP Temple www.causewayexchange.com Malaysia This captivating Hainanese opera, performed in Chinese, Hainanese and English, is based on a retelling of the classical Chinese novel, Poems in Autumn Leaf. It is produced by the Qiong Ju Society of Singapore with contemporarised twist incorporating multimedia projections of art and calligraphy in each act.
Best Of: A day in the life of a young modern Malay girl in Singapore 21.06.13 23.06.13 CausewayEXchange Arts Festival, Stage 1 Penang PAC www.causewayexchange.com Malaysia Best Of, by The Necessary Stage, is a one-woman show about a very frank, funny and sometimes sad journey into a day in the life of a young modern Malay girl living in Singapore. This production was staged at the M1 Singapore Fringe Festival earlier this year...with four of the five shows sold out!
Suara Dari Muara: A poetry concert 21.06.13 22.06.13 CausewayEXchange Arts Festival, Sekeping Victoria www.causewayexchange.com Malaysia A band of poets will present an unconventional poetry performance combining choral singing, electronic music, percussion, and body movements, combined with traditional theatrical elements such as mak yong and dikir barat. The six poets, led by Rafaat Haji Hamzah, will be supported by the contemporary dance group Kaizen and guest poet Umar Uzair from Malaysia. The performance will be in both English and Malay.
IN THE LIMELIGHT
DESTINATION ART
Text: Rachel Smith Photos: Art One Hong Kong

Art One atrium
IN THE LIMELIGHT
Ever wondered whats the latest way we consume art? Enter Art One Hong Kongs new creative hive and art shopping mall
ong Kong is internationally renowned for its business friendly, multicultural destination where the notion of east meets west continues to be a pertinent if somewhat well worn saying. Hong Kong is leading the pull of art consumerism in the region and this can clearly be seen in the increasing number of galleries, auctions and art fairs taking place in the city. A rapidly developing art arena that possess a geographical sensibility (read as close by to the wealthiest collectors), more than adequate cosmopolitan chic and a substantial art calendar year on year, Hong Kong is gaining serious traction for art in every aspect - art creation, promotion as well as from an investment perspective. Its advantage is an appealing image of accessibility, with many visitors perceiving the city as familiar, up to date and open. With the advent of more art fairs here in Hong Kong, Beijing it seems, is gradually losing art darling status after the fever of the Olympics has since cooled off.
Asian artists through solo shows of their work. The precedent set by the International Art Fair and now Art Basel, will be complimented and continued by many accompanying art events, also happening in May, such as Bank Art Fair and Asia Contemporary Art Show that are also located in and around the Hong Kong Convention and Exhibition Centre. A permanent yet ever changing art destination Alongside these fairs, there is also a new art venue in town. And more importantly, one right alongside them. Enter Art One - a new concept space nestled within the Hong Kong Convention and Exhibition Centre, next to the Grand Hyatt and Renaissance Harbour View hotels. The spacious 15,000 square feet place is currently home to eight individual galleries in a unique setting that affords both accessibility to the public and more strategically, a captive audience of art fair visitors and show spillovers. Another major attraction for galleries located at Art One is the competitive rental rate of around HK$60 per square foot in comparison to traditional gallery locations in the Central district that cost two or three times as much. Opened since the end of 2011, this relatively new Hong Kong art
destination provides an exciting opportunity for the general public to view art, in addition to the advantages it offers to galleries. Art Ones stated aim is to create an inviting, relaxed, more inclusive and less intimidating space that has mass appeal and the ability to attract new buyers and investors to the art world. In addition to galleries, Art One will also play host to pop up exhibitions and plans to offer more exposure for up and coming new artists, including fresh local talent. The overall feel of the place suggests a symbiotic relationship where exhibitors complement one another rather than compete. The result is a holistic and all rounded experience for visitors. Art One also hopes to utilise the remaining space for retail to offer art and design related merchandise such as books, art materials and tools. This will inevitably help to attract a wider target audience and encourage them to interact and nurture a love and appreciation for art in a wider context. For all galleries, wherever they are, engaging a new audience of potential collectors is an ongoing endeavour thats necessary for future success.
Eastation Gallery
More art fairs than ever This year in May, Art Basel takes over from the highly successful Hong Kong International Art Fair that has been running for five years and had incorporated Art Futures and Asia One, the former offering gallery opportunities to champion emerging young artists and the latter concerned with the promotion of individual
18 19
IN THE LIMELIGHT
Another interesting feature is the black showroom that contrasts with the galleries white interiors. It currently features a glamorous showroom -style interior that integrates art into the domestic domain while giving visual inspiration for those wondering how to incorporate artworks into their home. Art One also has an open area for exhibitions that are separate from the other galleries and lends more opportunities for image lovers to view and potentially purchase art in a more spontaneous manner. On the day of my visit, a newly featured artist was busy putting the finishing touches to the installation. At the same time, paintings were being packed by a purchaser who had just snapped up several pieces. To any passer by, this provides a rare glimpse into the dealings that go on in this industry. The people behind Art One Art Futures Group has its business in managing portfolios and nurturing value of mid-career Asian artists. The groups main clientele come from those in banking and commerce searching for alternative investment security in the face of an unpredictable global economy. Art One potentially acts as a starting point for both sides to meet, and serves the groups intention to effectively promote the artists they believe will go far. And doing so in a novel way.
Case in point, they are currently running a prize draw to passers-by to win a valuable painting. Individual galleries, varied sampling Eastation Gallery, Wan Fung Art Gallery, Art Futures Group and JP Gallery are among those currently residing at Art Ones creative hub setting and each gallery offer great range in medium and expertise. Eastation gallery currently features a solo exhibition by Canadian artist Tony Scherman whose thickly layered encaustic portraits include Karl Marx. In fact, Art One regards JP Gallery as one of the most exciting galleries because of the variety of artists, sculpture and furniture on display. Inside, sculpture pieces by Lladro designer Jaime Hayon, offers an applied alternative to traditional artworks on paper or canvas. His approach of blurring the boundaries between art, decoration and design signals the progressive path forward for art consumerism. Wan Fung Art Gallery moved to Art One approximately six months ago and has a small showroom that includes a satellite selection from the artists whose works they sell. The main showroom for Wan Fung Art Gallery is located in Island East, requiring visitors to travel away. Hence, its space in Art One provides an interface with visitors in a location
that is central for amenities, transport and other art-related activities. A cluster of creativity Art One sees the strategic allure of a hub as one that may be new to Hong Kong, but yet has been tried and tested in other art-loving metropolises such as London and New York. This confidence is reflected in the optimism and enthusiasm expressed by the organisation. In the rapidly evolving and fiercely competitive art exhibition scene, galleries need to continually adapt and move forward in order to stay buoyant. At least the cornerstone of distinction that Art One wants to build upon - giving a great space for sellers, buyers and observers - seems set to flourish as part of Hong Kongs art scene for years to come.
Idxgallery
20 21
IN THE LIMELIGHT
Art One picks out two names that are making waves in the scene.
Fang Lijun
The subjects in Fang Lijuns paintings, be it his famous bald heads or ordinary people, exude a certain kind of allure that firmly draw viewers into his world. Although these subjects convey a quiet but loud sense of cynical realism, the intensity always makes it difficult for the viewer to tear their eyes away. From the experience of individual to the suggestion of the collective, the visual world of distorted figures and self-mockery that Fang creates forces the viewer to relate on a deeper, inward looking and sometimes darker level. In the profound and immense reality he weaves into his work, Fang exposes your innermost fears about life. The relationship between the individual and society is just like the relationship between a drop of water and rivers. Fang once said. His paintings speak evocatively about the idea of existence within a collective where there is a sense of nothingness devoid of personality, individuality and ego.
Qing Yan (2013) Yin Zhaoyang, oil on canvas, 90 x 160cm
Yin Zhaoyang
Yin Zhaoyang appears to be progressively returning back to his more traditional principles. Reaching his forties seems to bring Yin deeper into a personal sojourn towards self-actualisation; a need to take a dramatic turnaround and channel that long suppressed desire to find himself through his work. He invests this newfound burst of soul searching into pines and cypresses, chiselling that yen for certainty of fate and dignity of life with forceful and vigorous brush strokes into silent rocks and landscapes. Yin jolts his viewer awake by the unbridled and boundless stretches of landscape that are punctuated by strokes and swathes of bright light, which pours molton over the wild coarseness of nature on his canvas, like vivid but fatalistic sighs of colour. In Yins landscapes, everything in life presents a kind of reality and gravity that is far greater than what most ordinary people can comprehend; even the time roars past here. Therefore, maybe only the tough craggy face of Yins world is able to support the heavy weight he foresees the world has to bear.
Untitled (2012) Fang Lijun, ink on paper, 24 x 33cm
22 23
IN THE LIMELIGHT
We meet up with some of the gallery folks at Art One with 2 important questions.
Mark Saunderson Director Fabrik Contemporary Art
What is your favourite or most anticipated art piece for 2013? As a gallery owner, we are seeing a number of exciting developments on the arts and culture scene in Hong Kong. For example, the formation of the Hong Kong Art Gallery Association, which currently has 56 members and a mission to provide one voice for members, is reaching out to the international and local community, and helping to deepen market knowledge and best practices amongst members. As well, local artists are gaining recognition for example, with the Hong Kong Art Prize... Personally, I like some of the more recent ink works of Hung Fai Vito, following in the heels of his father, a promising young Hong Kong artist. What is the first thing you are going to see at the key art fairs in Hong Kong in May? Following the acquisition of ArtHK last year by Art Basel, I am especially looking forward to the first edition of Art Basel Hong Kong it is certain to be an extravaganza for big name art collectors. Also, not to be missed are some of the satellite art fairs, for example the Asia Contemporary Art Show, that I understand will present 2,000 works from over 300 emerging and midcareer artists, all very affordable for the young collector or first time buyer.
Joey Lee Gallery Manager LDX Gallery
What is your favourite or most anticipated art piece for 2013? We began the year with a successful exhibition of an up and coming Dominican American artist Miguel Payano. His time spent in China the last 10 years has influenced him to produce amazing works of Eastern and Western influences, namely the series Koicocks that has received much attention during its exhibition in Hong Kong. We look forward to his Mask series, which will be previewed in May's group exhibition, On Change. His extensive academic and philosophical researches are again exemplified through these political figures veiled in traditional Peking opera masks, revealing each icon's personality and legacy through this historical Chinese cultural tradition. What is the first thing you are going to see at the Hong Kong art fairs in May? We are particularly excited to visit the Discoveries sector, as it is usually here that we find exceptionally fresh minds and perspectives. Young artists are usually less constrained by the market and tend to work more freely. We also are usually awed by the large sculptures and installations that give each art fair its bang factor, which in Hong Kong's first Art Basel is called the Encounters sector.
Serena Leung Art Consultant Wan Fung Art Gallery
What is your favourite or most anticipated art piece for 2013? Our favourite artwork this year is a new oil painting by Wang Changkai, who is a student of Wu Guanzhong. He has followed Wu Guanzhong for many years and acted as his exhibition organiser as well in the recent decade. Wang is very famous with his distinct painting style: using palette knife to create simple colour blocks with several simple strokes to outline the whole picture. One can easily recognise his works by this amusing brushwork. We are very impressed by this painting because of the bulls. Bull market, a metaphor of price rise in stock market, is so welcomed by Hong Kong people. Also, water is a symbol of wealth in Chinese traditions, which brings even more significance into this painting. What is the first thing you are going to see at the key art fairs in Hong Kong in May? Zao Wouki will probably be a hot topic this year! The best part of his works is a combination of Chinese painting style, impressionism and abstraction. His artworks can induce vast and different emotions. Not all of us can afford his paintings because the pricing would only go up and up with no doubt. But if Hong Kong Art Basel would showcase some of his fine works, it could definitely draw even more visitors into the fair this year.
24 25
IN FOCUS
COME WHAT MAY

From May onwards, the city of Hong Kong comes alive with a buzz of art-ivity.
Words: Rachel Smith and Jane M. Shishido
The foundations are set and 2013 looks to be the most interesting year for contemporary art fairs in Asia. With so many choices and variety, we pick out some of the must-visit art fairs in Hong Kong. May is a particularly busy month for those connected to the art world here. Falling on the same weekend, 23-26 May, three key events are Art Basel, Asia Contemporary Art Show and Bank Art Fair, each promising a stunningly varied range of artworks and events.
ART BASEL HONG KONG 2013

This year sees the arrival of Art Basel for the first time in Asia, in place of the Hong Kong International Art Fair of previous years. Since 2007, the Hong Kong International Art Fair quickly established Hong Kong as an important player in the international art circuit and has continued to grow, culminating in its takeover by the iMCH Group. Being the world's third largest art auction after New York and London, it has recorded impressive growth from 100 galleries and 20,000 visitors at its first fair in 2008 to 266 galleries, and 67,000 visitors last year. So this year, while the name may have changed, the emphasis on quality and a standard of excellence makes this edition of Asia's biggest art fair Art Basel Hong Kong, the definitive jewel of the East. New and Improved The highly anticipated Art Basel will show top calibre artworks from a variety of eras and locations as well as contemporary art at the vanguard of modern cultural exploration. The new global brand tag brings significance and moves slightly away from its commercial and trade show image to redefine what large scale art fairs are like in Asia contemplative rather than consumerism. Art Basel is also
hosting a selection of stimulating talks and presentations, prompting discussion between artists, curators, collectors and giving the general public a unique insight into the machinations of the art industry and a taste of what drives artists to produce great work.
Photo:Yumiko Chiba Noosphere Takuma Uematsu
Futures. Hasegawa Yuko takes over as chief curator of Art Basel Hong Kong. Her experience as juror for Venice Biennale 1999, Artistic Director 7thnternational Istanbul Biennial 2001, co-curator of 4th Shanghai Biennale 2002, and Commissioner of Japanese Pavilion 50th Venice Biennale 2003 brings weight and prestige to the fair with professional integrity and historical context. Ms. Hasegawa also seems to represent a new emphasis on unification of contemporary art in Asia. United Nations of Art The Fair represents more nations with galleries from the Middle East and Africa moving into the spotlight for the first time. The line-up encompasses galleries from 35 countries. It seems Art Basel is intent on becoming the Louis Vuitton of art fairs in terms of accessibility, appeal and credibility. By locating the newest development of Art Basel in Hong Kong, the promoters and investors in this hugely prestigious event are affording galleries, artists and collectors, both local and international, an amazing opportunity to interact in a location that is on the cutting edge of global economic development. Art is currently, and always has been, a hugely valuable commodity so it makes perfect sense for this globally acclaimed art fair to take place here.
26 27
Always keen to attract new audiences, Art Basel suggests ways to include children in the excitement and fun of the fair and brings a wealth of experience in organising hugely successful, international art fairs since the 1970s. Also, the fair will continue to offer the best exposure for Asian emerging talents at its Discoveries section, formerly known as Art
Log Lady & Dirty Bunny (2009) Marnie Weber, mixed media 3 parts
IN FOCUS
Hotel Art Fairs Move Into Hong Kong Success breeds more ambition as two new art fairs Asia Contemporary Art Show as well as the Bank Art Fair make a bold statement by taking dates on the same week as Art Basel Hong Kong 2013. The growing popularity of hotel art fairs will continue as other Asian art cities such as Singapore which debuted Worlds Apart Fair in January, host more of such events. This concept hails back to classic European salon shows and private views in homes of the leisure classes. The first international and contemporary art hotel event actually took place in 1994 at New York with the Armory Show. Its draw was the easy and amiable atmosphere sans endless white wall mazes that turn appreciation into an endurance race. So while the size of each room may seem modest in comparison to the large installations of Art Basel, there is intimacy for the gallerist and artist to seduce the viewer and buyer, something that simply can't happen at big expansive venues. In addition, opportunities to meet the next big Asian star are greater with hotel art fairs and emerging art and smaller sized works can be bought at affordable prices. Both Yoshitomo Nara and Takashi Murakami were part of group shows at Tokyo hotel art fairs with galleries Tomio Koyama and Ota Fine Arts, years before global fame caught up with them. Bigger And Bolder The most anticipated new section of Art Basel Hong Kong is Encounters,
Photo: ARNDT Berlin
Clockwise from right: China Purple Flavio Favelli Le Rite Suspendue/Mouille (1991) Zhen Chen metal, plexiglass, water, earth, sand, pigment, paint Visibility is a Trap (2012) Laurent Grasso neon, transformer, dimmer Photo: Edouard Malingue Gallery, Hong Kong
Photo: Galleria S.A.L.E.S Roma
Allegory of the Unfolding Sky (2012) Jitish Kallatoil, acrylic, pencil on canvas
dedicated to large sculpture and installations by artists. Particularly interesting this year are collaborations between the east and west, galleries and artists; with a new focus on soundscapes. Some pieces to look out for are like Arndt (Berlin) who will present Indian artist Jitish Kallats 120-part sculpture that evokes the transitory image of Mumbai, Hong Kong space Galerie Du Monde (Hong Kong) showing Losing, 2008, by Chinese artist Qin Chong. Using over 70 square metres of space, this is the largest installation at Encounters and is composed of 18 charcol painting paper scrolls, six metres in height. Long March Space (Beijing) displays
MadeIn Companys latest installation Play 201301, 2013, which will surely raise some eyebrows. The sculpture shaped as a Gothic cathedral is made from accessories referencing S&M leather, latex, metal and chains - the piece is held together by Japanese erotic bondage style Kinbaku. Edouard Malingue Gallery (Hong Kong) will showcase a neon text installation by French artist Laurent Grasso. Over seven metres wide, Visibility is a Trap, 2012, is a reference to Michel Foucault. In addition, Simon Lee Gallery will showcase sculptures by American artist Marnie Weber, a textural landscape establishing relationships between the characters in his films with a fairytale environment.
ASIA CONTEMPORARY ART SHOW

This event is located in the luxurious hotel setting of the JW Marriott, and affords the audience a chance to view artworks in a more familiar environment than the art gallerys pristine white walls. This fair is timed to coincide with Art Basel in order to enable attendees the chance to move between the nearby locations and benefit from the proximity and shared theme. A range of choices will be available to buyers, including affordably priced paintings, sculpture and limited edition prints. The 2nd Asia Contemporary Art Fair kicks off with the Hong Kong Art Prize On May 16 in conjunction with the Hong Kong
Art Gallery Association and Wheelock. The prize of HK$80,000 and two Certificates of Merit will be decided by an independent Jury Panel. Last year young, up and coming Hong Kong artist, Halley Cheng, won this prize and the gallery Ora-Ora that represents him also boasted another of its artists, Stephen Wong, on the competition shortlist. The public will get their chance to vote for the Peoples Prize winner via shortlisted works posted on the organisers Facebook page.
BANK ART FAIR

Korea's had the biggest success in Asia with hotel art fairs, and plans to take their programs to Hong Kong with
Bank Art Fair to be held on May 23 26. Engineered by Korean art entrepreneur, Dong Myeong Kim, this hotel fair has garnered buzz in Korea, China, Singapore and Taiwan for several years and is now, for the first time, coming to Hong Kong. It shares a similar goal to Asia Contemporary Art Show in that it aims to attract visitors from Art Basel and draw an audience to Hong Kong that will benefit all of the art events here. Bank Art Fair promises to bring opportunities for mid-career artists from ages 30-40 with exhibition platforms, mentorships with younger artists and international media coverage. The new fair also plans 28
29
Photo: de Sarthe Gallery
IN FOCUS
Photo: A Gallery
INFORMATION
ART BASEL HONG KONG

Thursday 23 May to Sunday 26 May 2013 Opening Hours: Thursday to Saturday, 12pm 7pm Sunday, 12pm 5pm
Photo: OVAS Art Gallery
Address: Hong Kong Convention and Exhibition Centre 1 Harbour Road, Wan Chai Admission: One-day ticket HK$250 Concession one day ticket HK$150 Vernissage ticket HK$750 Four day ticket HK$750 Concession four day ticket HK$450 Schedule Private View Wednesday 22 May (By invitation only) Vernissage Wednesday 22 May, 5pm 9pm (By invitation only) www.artbasel.com/en/Hong-Kong
ASIA CONTEMPORARY ART SHOW

Thursday 23 May to Sunday 26 May 2013 Opening hours: 12:30pm 8:30pm
Time of Reading (2009) Mitsuru Watanabe oil on canvas, 112.1cm x 162.1cm Snowing Sakura (2011) Sanzi oil on canvas, 100cm x 120cm
to showcase one university of the arts from a participating exhibitor's home nation. The most innovative aspect of the Bank Art Fair is that it directly involves businesses in the funding and supporting of the arts in a way that is beneficial and stimulating to both parties. The companies involved in the event will receive the opportunity to advertise and promote at the same time and in the same location as the galleries that will exhibit art and promote artists. The event is organised so that part of the cost to the commercial participants will result in them receiving a voucher with which to purchase works of art, thus ensuring that galleries and artists will be direct beneficiaries of the fair at the same time as being offered the opportunity to reach out to a global audience. The fair will take place in the more
luxurious Shangri-La Hotel for its proximity to the exhibition centre and the citys amenities. Spoilt for Choice...May Art Fairs in Hong Kong These three art fairs will undoubtedly offer varied experiences to visitors, whether they are seasoned fair goers or relative newcomers. The juxtaposition of hotel events with the expansive exhibition centre-based Art Basel will act as complimentary facets to the total summer art fair experience. These events will entice visitors from abroad and stimulate interest and activity in the arts across the local region. As the art industry continues to grow and develop, Hong Kong in May offers an invitation to see world class art on Asias doorstep.
The More Art Fairs, The Merrier

Link Art Fair Hong Kong
(Outdoor environment, 360 artworks)
Warmness Choi Seung Ae
Address: J W Marriott Hotel Hong Kong Cum The Upper House 88 Queensway Admiralty, Hong Kong Vip Preview (By invitation only) Thursday 23 May, 5:30pm 8:30pm Admission: HK$120 for all the three days www.asiacontemporaryart.com
24 26 May 2013 18 Sai Ning Street Kennedy Town, Western District Hong Kong Island www.link-artfair.com Hong Kong Contemporary Art Fair 24 27 May 2013 Excelsior Hotel Hong Kong www.hkc.com.co/about.php Masterpiece Fair Hong Kong Fine Art Asia Fair
(European Masterpieces)
BANK ART FAIR

Thursday 23 May to Sunday 26 May 2013 Opening hour: Thursday, 5pm 8pm Friday to Sunday, 1pm 8pm Address: Island Shangri-La Hong Kong Hotel (41st & 42nd floors) Pacific Place, Supreme Court Road Central, Hong Kong Phone: +852 2820 8525 www.bankartfair.com
The Words (2012) Yoo Sun Tai acrylic on canvas, 91cm x 117cm 30 31
4 7 October 2013
GLIMPSE
Director of Asia Contemporary Art Ltd, Mark Saunderson is a particularly big fan of well-known British artist Pip Todd Warmoth. I love the way he captures light and those beautiful, slightly washed out English pastels. The themes are modern, like this image of London, but the execution while still fresh has a slightly old world feel to it. Beautiful and serene, but a lot of depth.
CONTEMPORARY PICKS
With more than 300 artists from 17 countries showing at the Asia Contemporary Art Show in Hong Kong this May, we get the owners and directors behind this show to pick their favourites.
Pip Todd Warmoth is one of Britains foremost figurative painters, demonstrating empathy and sensitivity to the subjects he depicts. His classical style of painting is sought after in international markets. High-profile collectors of his work include HRH Prince Charles, Sir David Tang, former Hong Kong Governor Chris Patten, Sir Michael Caine, Standard Chartered Bank Hong Kong, HSBC and Barclays Wealth. Businessman and founder of Shanghai Tang Sir David Tang comments, I have been a collector of Pip Todd Warmoths art for years. There is always something expressively romantic about his paintings. It is often a breath of fresh air from all the abstract art that permeates many modern galleries. Pip Todd Warmoth will be represented by Tanya Baxter Contemporary in Rooms 3022 and 3023.
Text: Valerie Wee Photos: Asia Contemporary Art Show
32 33
GLIMPSE
Asia Contemporary Art Show Director Douwe Cramer originally hails from the Netherlands, but is a long-term resident of Hong Kong. Through his extensive travels in China, Cramer has come to admire the works of Shen Jingdong. His bold use of colour, and a really contemporary take on classic Chinese and military themes are inspiring. It has also been wonderful to see Shens paintings increase in value over the years as more and more collectors are attracted to his unique works.
Shen Jingdong lives and paints in Beijing, and has spent almost 20 years in the militarys Battlefront Art Troupe before becoming an artist. He created a unique and iconic style of painting heroic soldier images, which has been widely appreciated around the world. His works are collected by Chinese actress Zhang Ziyi, and have been featured in the New York Times and numerous global exhibitions. Shens works have also achieved stellar auction results, including netting US$58,180 in December 2011 for War and Lies sold by China Poly Auction. Several of Shens works will be on display in the Art Futures Lounge on 30th floor of the JW Marriott Hotel.
Another director of Asia Contemporary Art, Sarah Benecke is fond of the works of Australian artist, James Ainslie. I am Australian too although an expatriate most of my life, and Ainslies work brings to life the incredible beauty of the Australian landscape. His works could not have been painted anywhere else. Many of Ainslies paintings are so realistic that they can be mistaken for photographs. He is one of the most talented artists working in Australia today, and will be personally attending the Asia Contemporary Art Show in May.
James Ainslie is an acclaimed Australian artist whose modern realism and abstract works in acrylic on paper are widely collected both locally and overseas. The artists paintings resonate with an inherent passion for Australias unique and unbridled beauty, particularly the sandy dunes and reflective waters of Queensland and South Australia. His works are widely exhibited, and are held in the collections of BP Australia, Mobil Oil Australia, State Bank Collection, Reserve Bank Collection and Bankers Trust Australia, amongst others. Private collectors in many parts of Europe, the USA, Japan and Asia also enjoy Ainslies award-winning work. He will be represented by The Gallery Eumundi in Room 3021.
34 35
GLIMPSE
THE WORLD ACCORDING TO TORO
Text: Valerie Wee Photos: Quincy Castillo
GLIMPSE
Toro walks through his works to give us a retrospective.
Painter, writer, social activist, or artist? We peer through Toros current works to find out more.
creation he feels that the concept or idea behind the work is paramount. This is also the reason why Toro disseminates his point of view through a mixed bag of painting, sculpture and viral videos. In all of the 3 different collections, Toro adapted his method and style to convey his message effectively. In Temerity, the aim was to engage the viewer spontaneously, just like the spatter forms in his work. In Over Carbs, celebrity and sexual innuendos were used to resonate with the very young and out there target audience tuned in to this social commentary. In his YouTube video art of Toro Ancestors Toro Roots, he juxtaposed the mandarin word for ancestor alongside bull penises pickled in tall jars. Deliberately heavy with irony, he preserves and colours the bull penis, just like modern societys garish attempts to salvage and modernise traditions. Toro strongly desires that art viewers think about what they see. If they dont, he pragmatically surmises, Some folks would find it offensive because (they only see) it as a dead bull penis floating in formaldehyde. But at least Toro caught your attention.
f you attempt to define the Philippines-based artist Toro, it would certainly not be a single word. In fact, any time you try to understand what really goes on in Toros mind or decipher his creative vision with any tried and tested methods, it would probably be fraught with challenges. In a body of work that range from towering landscapes of paint splashes to his latest creative correlation of mankinds origin to a certain sexy part of the bovine variety, one would never really be sure that theyve truly understood Toro. But you can be sure that Toros work will defy conventional method and wisdom seemingly reckless but on second thoughts, serving a deeper social meaning. Perhaps this is the beauty of many of Toros work the ability to balance light and dark, foolhardy yet calculated, comedic yet gravely serious. And to top it all off, Toro does not always subscribe to the tedium of art
In a nutshell, the artist is unflinchingly honest and delightfully contradictory in his ways he strips away at the superficiality of every day life with an approach that borders on frivolity. In Over Carbs, he is unapologetic in his summation of mankinds obsession with sex. His suggestion of origination in Toro Ancestors Toro Roots was impressed upon by a typographical connection of the phallus and the Chinese ideogram of the word ancestor, and in his earliest work Temerity, he invites viewers and guests to actively collaborate in creating his spatter art. Ultimately, this is Toros search for absolute expression and the true definition of freedom that his message is neither hindered by traditional rules of art creation nor the outdated notion of where art should be seen and not heard. Metaphorically speaking, Toro is far more interested to explore the realms where art and real life can slip into bed. And perhaps that is the deepseated wish of any contemporary artist - that any effort to push past the comfort zone, could allow art to evolve in a meaningful manner.
I use different techniques, viewer experiential approaches, mediums and visuals in an attempt to convey different concepts. I am focused on the idea I am trying to propose. Sometimes, I may do art in a way that may seem too much, too gory or over the top. It is so that I can effectively get the message across to the person looking at it.
38 39
GLIMPSE
Toro Ancestors Toro Roots was a

YouTube video showing one painting stretching 7 feet by 18 feet of 3 generations in my family. Each generation had taken its own path of progress on this canvas. These are actual footprints. There is no Toro signature in this painting because I feel the artist signature lies in the actual footsteps here.
The reason I showed the small piece Toro's Temerity was that it was my statement piece. Most folks did not get it. A few understood it. There was a touching moment when a stranger at the exhibition came up to me and hugged me. She understood what it meant and she cried.
Over Carbs are the celebrities who

have a voice. Ordinary folks do not have a voice. The sexuality aspect was used only to attract attention to this reality. Bananas and doughnuts were served as part of the exhibit opening. We constantly create concepts and use symbols. During the event, the guests chose their banana and/or doughnut and had photos taken against my signature black and white splatter painting. In this way, they became the characters for that evening. It s important that art shows need to engage and be memorable. Humans tend to remember different experiences. The usual art shows are easily forgotten.
This exhibit was all about abstract action paintings. It also signified the voice of Toro after being silent for 50 years chaotic, free and bold. The audience participation in dripping and splattering paint on the canvas was an act of temerity (or courage) in itself. No one expected an art exhibit to allow for audience collaboration of this form. It also took temerity on the part of Toro, to do the opposite and reveal his work process. It was an interactive exhibit. Those who participated will hopefully remember the tactile feeling of dripping and splattering paint. One lady even used her hands to imprint on the canvas.
40 41
GLIMPSE
THE SCORE
Words: Gayle Goh Images: Andy Yang
m finding it increasingly hard to title my pieces, Andy Yang admits. It doesn't seem right to name a painting once you've finished it. For artist Andy Yang, titling a work is like naming an emotion convenient, but incomplete. Human emotion is complex and textured, uncontainable in a word like happiness or anger. Much like his abstract paintings. Also a sound artist, many of Yangs paintings ride on the intensity of emotion in his music. He composes the music prior to painting, using a variety of instruments and sound effects. Then he plays the music on loop in the studio while he works. But perhaps composition is too deliberate a word for what he does.
Passion 1 acrylic on canvas, 100cm (W) x 160cm (H)
Instead, his music is forged through improvisation. The musical result comes into being the same way he paints spontaneously, with one form moving into the next as capriciously as feeling itself. That is why, he explains, each of his paintings is as unrepeatable as the emotional state that inspired it. Paths of consequence His major influence is life, and its experiences. He speaks most animatedly and earnestly about how our lives happen over time through choices, coincidences and effect. Everyone leaves traces of themselves in one another's lives, he explains. Events and choices turn us down different paths be it good, bad, or the middle road. Reunions between
friends often reveal the different paths that our lives have taken over the years. Sometimes, rather than talking to my children about right and wrong, I teach them about consequences. Hints of Yang's philosophy are discernible in his paintings. The creative process is spontaneous and unrehearsed, carried on emotion and whimsy. He uses a bold palette of colours and a range of texturing minerals to express in turbulent and chaotic ways. Yet when it's all over and one takes a step back, every painting is coherent. Each split-second choice has inspired the next, the momentum building up to a complete work; almost like how, even in improvised music, notes scaffold on chords and rhythm to arrive at a song.
42 43
GLIMPSE
Between fine and commercial art: searching for self Andy Yang has worked as a commercial artist for the past 11 years, since graduating with a diploma in graphic art. He received much of his training prior to the surge in computer-generated art, which meant long hours practising forms by hand. This foundation has served him well in his career, which has spanned advertising design, illustration and even technical drawing. But while he is successful in his commercial work, something deeply personal drives him to pursue fine art. He recounts the essence of this motivation in one of his most defining memories: standing before Picasso's Guernica in Spain.There must be a term for it, but I can't think of what it is...where you're just struck by the art, and you stand there as time passes, ten minutes, fifteen minutes... I saw the trauma and the turmoil of the artist in the work, and I recognised it. That's what art does it opens up the mind to a point where, you feel something in you that's dormant, and you want to relocate it. It is the search for that elusive quality of self that commercial art is unable
to support. In commercial art, you work to achieve the client's vision, while under a very structured process whether it's about budgets and deadlines, or artistic direction. Still, Yangs signature is making ripples even in the commercial world. Last year, One East Asia commissioned a series of paintings from him for display in ESPA, a luxury spa destination at Resorts World Sentosa. Deadlines were certainly in force he completed an astonishing 21 paintings in 2 months. But more importantly, he had been approached because of his distinctive and personal fine art style. His exuberance of self goes some way in understanding why his paintings are abstract. My early paintings had subject, object and environment, he says. Then I moved on to landscapes. Now, all that's left is form the face is round, and eyeglasses are rectangular. Art teaches us to create, and to find our own forms. Indeed, there is nothing distant about Yangs approach to his work. His dominant role is not to be an observer of subjects or objects, but a participant living to the fullest.
What's ahead? Following the success of his previous solo exhibitions Attachments 1 and 2 (2007), Emotions (2011) and Passions (2012) he looks forward, with anticipation, to his next show coming up in September. But perhaps not as much when it comes to giving it a name. Meanwhile, he continues to experiment with mixed media, riffing on soundscapes and visual art to find different ways to create and curate his work. It will be exciting to see (and hear) how he grows as an artist. It is not unreasonable to hope that his frenetic energy will fuse with his depth of thought to design new and thrilling aesthetic experiences for his audience.
44 45
DIALOGUE
Korean artist Cheong Kwang Ho has a vendetta against the conventional notion of three-dimensional artform. Its a true rebellion against the comfortable idea of spatial experience. As such, his pieces are often unbearably delicate and almost weightless forms forged by waif-like copper wires melded together in meticulous detail and patterns of see through space within each piece. These next-to-nothing sculptures, or as the artist calls non-sculptural sculptures are often a rejection of substance over everything else. The copper veins of his art pieces snake softly through each piece to form simple motifs of pots, flowers, fishes and leaves. The contradictory yet delightfully intricate nature of his collection The Treachery of Sculptures will surely beg for second and third looks from the viewer. And the patient eye will certainly be rewarded because therein Cheongs work lies an offering of the visual concept that form exist together with empty spaces, and when these spaces are not regarded purely as empty spaces, will reveal yet more images of our world. We check in with this enigmatic sculptor to find out more.
OUTER SPACE
Text: Valerie Wee Photos: MoCA@Loewen
Hello Cheong, could you tell us a little bit about life? Could you tell us a bit about this collection and the meaning of the names behind your pieces?
Life in itself has purpose both physical and ideological purpose. If I can attain the means to fulfilling lifes purpose, I believe I can avoid the curse. I give my sculptures names like The Leaf and The Pot as a way for me to think, interpret and analyse the usual mundane objects we see in everyday life. [Kamiliah Bahdar from Galerie Steph interjects here] Galerie Steph is the gallery responsible for bringing Cheongs showcase to Singapore. It was the gallery that put forward this exhibition title, The Treachery of Sculptures. It's a thinly veiled reference to Rene Magritte's The Treachery of Images. There are many elements of Cheong's work that challenge ideas of representation and perception. His works, despite being three-dimensional and occupying large volumes of space seem at first to be flat two-dimensional pieces. It is this illusion that challenges our perception of objects/things as images. Furthermore, the choice to give his sculptures paradoxical titles such as Pot or Fish serves to highlight the contradiction between the sculpture's form/structure and its function.
Could you tell us more about your work past and present are there differences? Could you tell us a story about yourself?
There is continuity between my past and current collection of works, especially with the constant attempt to push my personal boundaries of what art is.
One day, I was reading a book and I came to realise that the words and the concepts in the book are objects just the same as artworks. Furthermore, the concept of enlightenment is a non-material thing meaning accidental discovery. Thereafter, I witnessed the relationship of things and the placement of objects. As a result of that, I think and worry about how to avoid such relationships and placements and how I can use an object autonomously.
46 47
The Still Life (2005) copper wire, 50 x 50 x 50cm
DIALOGUE
The Leaf (2013) copper wire, 120 x 160 x 10cm
The Pot (2013) copper wire, 72 x 72 x 70cm
The Leaf (2013) copper wire, 160 x 160 x 10cm
The Landscape (2009) copper wire, 177 x 130 x 5cm
Your current collection is said to push the notion of non sculptural sculptures or space within a form - what inspired you to do so?
There is a distinctive difference between three-dimensional sculptures and two-dimensional paintings. If a sculpture is there to represent just the threedimensional, then its role collapses. Therefore, a sculpture needs to emerge from the axioms of three-dimensional space. In that sense, my sculptures need to stay as non-sculptural pieces. Therefore, my pieces need to get in touch with space as well as time. My current works are more focused on the spatial elements and substances of visually recognisable objects. In my future works, I will deal with movement, time, images, and events. The more I work, the more my hands, knees and joints ache in pain. But in equal ratio to the ache and pain, my spirit becomes clearer.
What are some of the things in life that intrigue you?
First of all, I want to die at the age of 98. Although, I am sure I will die either before or after 98. Secondly, I will endlessly fail. I wont be able to stop success or failure with my hands. Thirdly, for my health, or injury to my health, I will continue to smoke and drink. In other words, I will look after my health so I can continue to enjoy. Frankly speaking, we shouldnt fear time and space. Fear is an automatic response to power and violence coming from outside. Due to fear, the power essentially resulting from a natural disaster or violence close to you comes from your perception of time. When a boat runs across the ocean, the waves and the boat become one body. But when the engine stops, the boat sways due to the waves.
Also, how would you continue to push this idea in your future work? Which, in your opinion, is the toughest part of the creation process in your work? Why is this so?
In your opinion, do you think there is a justified fear of space in today's world? Or the opposite? There seems to be lots of fear, clutter and a prevalent need to fill up free time.
48 49
DIALOGUE
When art and science come together in an exquisitely beautiful manner, it may be artist Naoko Tosa behind it.
Sanctuary 9, 145.6 x 103 cm
THE ART OF SCIENCE

Text: Valerie Wee Photos: MAD Museum of Art & Design
apanese media artist Naoko Tosa has an interesting way of expressing her thoughts on spirituality. With the help of modern technology, she computes age-old Japanese tradition and culture into artworks that express the search for inner peace and a quiet state of mind. In this unique approach, her work conveys a strong sense of silent bliss as well as a powerful sense of dynamism found in the origins of Japanese Zen and the indigenous practice of Shinto-ism. Born in 1961 in the leafy city of Fukuoka, Tosa has derived much of her inspiration from all aspects of nature. Using diverse and mixed techniques from photography, digital software, video art, augmented reality art to installation pieces she has amalgamated these into her belief that there is an artistic concept that different cultures all over the world are connected universally as one collective higher consciousness. In
essence, Tosa believes that thought especially in the creative realm transcends culture, heritage and time. In fact, she has integrated this belief in a very modern way by marrying concept to computer in an approach she terms Cultural Computing. In doing so, she has created a new future for art that she hopes will lead to many more possibilities and potential. Tosa-san is truly in a unique position to reconcile the differences between tradition and technology as well as relate the past to the future. She has a doctorate in Art and Technology from the University of Tokyo and has spent 2 years as a fellow artist in the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT). Currently, she serves as a professor at the Kyoto University, a leading research oriented institution known for producing several Nobel Prize laureates.
Her works can be sighted in many locations worldwide like the Museum of Modern Art, New York, the American Film Association and International Berlin Film Festival New Media Division. Her progressive approach towards combining art and science has led her to also win awards like the Best Paper from the IEEE International Conference on Multimedia in 1996 as well as a second prize for Nabi Digital Storytelling Competition of Intangible Heritage, organised by UNESCO in 2004. As well, she has received research funding from government agencies and corporations such as famous game company Taito Corp, in order to advance her search, through art and image, for spirituality and the answers in this modern age.
50 51
Sanctuary 1, 51.5 x 72.8 cm
DIALOGUE
Naoko Tosa tells us more about the magic of art and science.
Dear Tosa-san, could you tell us a bit about the process of you becoming an artist and your influences? When I was a high school student, I was very much inspired by Surrealism represented by Dali and so on. I was very interested in the concept to make the invisible visible. How did you got into the unique position of learning art with science? My undergraduate study was graphic design, modern art, film and video. However, as I wanted to make invisible to visible using new technology, I came to be interested in technology. Therefore my graduate study and PhD study were computer science. Can you give us your outlook on how the study of art and science mimics or influences each other. Do you think the two contradicts or complements each other? Yes, these two complements well each other. Art can inspire and promote us to make new technology and vice versa. For example, I had earlier developed a computer graphics based on baby character. The Baby CG has the function of emotion recognition based on voice intonation. For example, if a person speak with a soft tone at the CG Baby, the CG Baby will recognise the soft tone and react gently with a giggle. This CG Baby was inspired from my interaction with a computer scientist who developed this emotion recognition technology which enable me to implement it into my art. Hence technology can give artist inspiration in a new way, thus leading to new creation. It is very interesting how you marry technology with a more traditional form of art, beyond just using computer software to recreate it. Can you tell us more about why you think this is important to do so? Science has beauty.
Can you tell us your motivation? Art has power. When I worked for EXPO2012 Korea, the political relationship between Korea and Japan was not so good. But, I felt that art could connect each other by peaceful power. How do people normally react to your work? Even without any knowledge about art history and recent art, most of them are excited and moved by my artworks. In terms of technology and creative expression, how and where do you think this will evolve in the near future? For me science/technology and creative expression are connected all the time. Since a long time ago, the Greek term Techne expresses the meaning of both technology, craftmanship and creativity. Could you mention some similar artists that you admire and respect who are also approaching art the way you do? Man Ray and Nam Jun Paik. Could you share with us what your next project is going to be about? My new artwork will be exhibited in Japanese Pavillon at the next EXPO 2015 held in Milan. It seems that you are very drawn to and inspired to nature. Nature is beautiful. And nature can relax us.
Sanctuary 6, Power
Sanctuary 4
How would you introduce yourself? Naoko Tosa. Artist. Science artist.
52 53
DIALOGUE
SYMBOL OF FREEDOM
Text: Valerie Wee Photos: MoCA@Loewen
here is a past that is indelibly seared into Chinese artist Xue Songs memory. In the early nineties, a fire raged in his studio and razed it to the ground, reducing all the artists works and keepsakes into a mere flurry of ashes and glowing cinders. What seemed like absolute tragedy turned out to be a divine blessing for his artistic career. In a cathartic bid to exorcise his grief, he gathered the embers of whats left ashes of old works and objects disfigured by heat and flames and pieced them together in collages. It was that pivotal moment that Xue Song discovered his creative raison detre and since then, has continued to use burnt paper and accents of fire-ravaged remains to his work. As one of Chinas most important name in avant-garde art, he was one of the very few who dedicated a lifetime to creating art, in a generation where it was not considered feasible nor fashionable. Born in 1965 in Anhui province, the artist has continued to witness the spectrum of change and evolution in Chinas social, economic and political progress. From a childhood nurtured on revolutionary China complete with model peasants and soldiers, he now sees the other side of change a century of capitalist China filled with
greedy venture capitalists and apathetic youths. As such, his work is often an observatory output of what he sees post-Mao in playful and graphic styles of political pop art while his signature elements juxtapose to add a somber and serious nod to history in acknowledgement of his past and experiences. In his latest exhibition dubbed A Dialogue With Mondrian, Xue Song moves away from his obvious political overtones to take inspiration from a famous avant-garde artist from the Netherlands. Piet Mondrian was pivotal to the renowned De Stijl new plastic art which advocates the beauty of pure abstraction of form and colour. Mondrians work is internationally recognisable for its white base, grid lines and three primary colours. Xue Songs 13 pieces emphasises this signature but with his own interaction of seared collages, thus adding an interesting proposition to the idea that abstraction can be simple and complex at the same time.
Facing page: A Dialogue with Mondrian No.6 (2012) 140 x 200cm
54 55
DIALOGUE
Left to right: A Dialogue with Mondrian No.10 (2012), 180 x 240cm A Dialogue with Mondrian No.5 (2012), 180 x 150cm
Left to right: A Dialogue with Mondrian No.4 (2012), 160 x 140cm A Dialogue with Mondrian No.7 (2012), 140 x 200cm
So what was your childhood like?
I grew up in rural Anhui in China during the Cultural Revolution. I had a happy and carefree childhood, running in the fields and playing with the animals. I had a lot of freedom, but my family was very poor and we never had enough to eat. Thus, we were always struggling and thinking of ways to keep us full. This struggle helped me become more creative and innovative with my art. One of my favourite childhood past time was to read Zhang Lepings comic Sanmaos Adventures, which is mostly set in Shanghai. Since then, I have always wanted to live in Shanghai. Thats why when it was time to select a university, I chose to enrol with the Shanghai Theatre Academy and from there I majored in Stage Visual Art. I like travelling, hiking, collecting stuff, and wine. I like rustic stuff. I do not like anything artificial.
Do you two have any parallels and distinctions?
Our similarities are that we both use large blocks of colours. I am not worried that my works do not look like paintings, I am more concerned about the significance of my vision and the meaning of my works. The difference is our use of media. His works are purely abstract, while mine has many layers. Contemporary art is an evolution of classical art, while avant-garde has a wider focus.
It seems that you studied Drama in school, was it a conscious effort to switch to visual arts instead?
What do you think is the line that separates avant-garde and contemporary concepts? If you were not an artist, what do you think you would end up becoming? What are you most drawn to, at this point in time? Could you tell us an interesting story that has left a deep impression on you?
I have always wanted only to be an artist, nothing else.
Could you tell us a bit more about your likes, dislikes and interests?
The different people that I meet everyday and the things I have encountered are my inspirations. In my artistic career, my most memorable moments were in 1990 and 1991, when I encountered three fires. I witnessed the burning scene, and it visually shocked me. Since then, I found, from the fire, my unique artistic language and expression. After the solo exhibition at MoCA@Loewen in Singapore, I have another solo exhibition at the Xian Art Museum. Then I would like to visit Jiangxis Jingde Town and experiment with ceramic.
56 57
Could you explain to us what you feel avant-garde means to you, and also with respects to you as an artist? Can you explain why you are so inspired by Mondrian?
Avant-garde to me means Pioneer. I dont care much about avant-garde, I am more concerned about the freedom of expression.
Mondrian to me is just a symbol, because his works are straightforward. It gives me space for a dialogue.
What is your next project and what would you most love to achieve in the near future?
DIALOGUE
THE MASK WE
he Mask We Wear Is One is Yusof Ghanis first exhibition in Singapore in over a decade. He last visited us with Hijau (Green) in 2000, where we saw images of nature in fragmenting lines and blurs of colour. Inspired as a protest against environmental degradation, it was a detour of sorts from his older series such as Topeng (Masks) and Wayang (Play), where human drama took the canvas as its stage. This stage is where Ghani has always seemed most confident and free. Humanistic elements in art are my prime love and concern, Ghani explains. The roots of expression, for me, do come from human expressions and behaviour.
Siri Tari II (1984-85) sold at his personal best of SGD75, 800. He will turn 63 this November, and this latest exhibition is an encouraging sign that much work still lies ahead of him. Nor has he stagnated: the series suggests an artist who is still growing and exploring. Compared to his previous exhibitions, the colours
Sarawak to Marrakesh, for translation to the canvas. Every part of the world has its own unique character, he says. The cultures we meet surprise us, lure us to love I try my best to capture this essence of culture in my work. For Ghani, the essence of culture may be something like what he earlier termed the essence of a dance or a turn not a distilled and singular essence, bounded by the object of the mask; but a living and moving essence, just as the image of the mask is pulled and bled into the colours and the contours of the art. Hence, what arrives to us is not a static symbol of culture limited by the literal figure of the mask, but a space that amalgamates the modern and the ancient both. It is a space that uses the mask to evoke or invoke the aura of art and spectacle as the props of ritual and tradition, while simultaneously disassembling that aura into abstract expression. From there, it is the exuberance in Ghanis work, manifested in those vivid oils and bold strokes of charcoal, which pushes that abstract expression firmly into the contemporary moment.
58 59
Karo #5 (2011), charcoal on canvas, 92 x 92 cm
WEAR IS ONE
To paint for me is a process that involves the elements of chance, meticulous control, thoughtfulnessan uncanny dialogue with the work. Theres a process of question and answer in space on canvas. Yusof Ghani
It is therefore a delight to see him return to that world of human expression in The Mask we wear is one. There, we meet old friends: Ghanis cast of masks, previously introduced in Topeng. Once again, they are conjured to animate Pokhara #5 (2011), oil and charcoal on canvas, 92 x 92 cm human play as Ghani puts it, the essence of a dance or a turn; human dispositions; the on show are noticeably brighter, and theatre of pain and anger. there is a looser rein to their fluidity. These expressions are pulled to the verges from the origin, and distorted in the process of depiction. Ghani is one of Malaysias most recognised artists in the present day, with a career in fine art that spans over thirty years. His visual language, influenced by cubism and abstract expressionism, has earned him a climbing reputation last year, There is an exuberant touch to his work, and spontaneity that well complements the more structured and geometric paintings in his repertoire. Fuelling his work is an assortment of feelings and impressions harvested on a sketchpad from his travels around the world. He has absorbed symbols, rituals and experiences from
Text: Gayle Goh Photos: Chan Hampe Galleries
UP AND COMING
Its the season of cultivating a new generation of art collectors. The vibrancy of the new trend in art marketing not abating; for one, Taiwans Young Art Taipei which is in its 4th year has recruited contemporary galleries around the world to offer art works to collectors at affordable prices. Galleries from Taiwan, Japan, China and Singapore have also been roped in to expand and develop new business opportunities involving art collectors under this new demographic. For the artists, those who are 45 years old and under, they will have a chance to showcase their works. `cle, Aki Gallery, Dynasty Art Gallery, Hosted by four Taiwanese galleries, namely Galerie Grand Sie and Der-Horng Art Gallery, Young Art Taipei has profound interest in developing new contemporary art in Asia, specifically real arts future. After all, the future is anchored by emerging artists stepping into the international limelight. With such an emphasis on art from young talents, it gives galleries who represent them a greater chance for showcasing their works.
Wang Tzu-ting Piaopiao Gallery

In all the exhibitions she has participated since her school days, Wang Tzuting has a free spirited way of drawing. To her, instincts at specific moments be it mentally and physically, is very important. For it is the vehicle for the database she has accumulated at the back of her mind. The database is a collection of the personal, be it voluntary or involuntary. It is through these instincts that images and information begin to evolve. All these images cannot be traced, for most of them fragmented vignettes of ones own history. Personally, she is not afraid to admit that these floating and broken characters are reflection of her living life. Her art practice usually starts from the instinctive, then to the images; picking and living with these fragmented elements are exactly how she selects and goes on her daily life.
YOUNG AT ART
TPAG sifts through and picks out some of the young artists featured at this years Young Art Taipei show, as well as find out why this show is a good start for fresh collectors.
Guim Tio Zarraluki Sonnentor Art Space

Guim Tio Zarraluki is a young Spanish artist from Barcelona. The strength of his art is the use of brilliant colours. They reflect vibrance, like those commonly used in a dramatic party. His concept of beauty which is derived from daily life especially fashion magazines is simplicity. However, being simple is more than just that, it is about art touching us through the mysterious language of story-telling.
Text: Richard Chua Photos: Young Arts Taipei
60 61
UP AND COMING
Kent Keong Tan BOSS Art Gallery

Kent Keong Tan is a young artist from Malaysia, studying in Taiwan. He will be presenting this thoughts and childhood memories through this work, interestingly, between the real world and the virtual memory; country to country all through the fantasy of his artwork. However, the fantasy is not constructed with frivolity, but with careful research and collating of materials. One such example is his works entitled The Toy Series, where the icon and symbols used in media culture are critically sculptured to re-capture the lineage of memories.
Tianyi Li Triumph Art Space

Tianyi Lis cartoon characters in his work usually stare at us with big eyes. Robotic and surreal at the same time, they inspire us to think about visions not to mention, whats the story behind them; what story does the artist has in mind? His delicate touches, together with colours, transmit a mysterious atmosphere. They build a world of fantasy. One such work depicts a man against brightly coloured rock background, which suggests gore and unsettledness, a sort of fear that exists between humans and nature.
Cai Lei Linda Gallery

Singaporean art agency Linda Gallery brings Chinese artist Cai Lei to the fair. His strategy in arranging topics between tradition and modern is unique. His images also embody emptiness, which contain notions of inner beauty and absolute purity. Through the use of different materials, Cai Lei has established a new world by interesting gadgets. The artwork that depicts a Rhinoceros sitting on a seemingly tranquil weed patch is a surrealistic combination of emotions and poetry where a balance between fragility and lifelessness. Most of his works aim at invoking the spectators sense of reflexivity in complex questions posed in life.
Keiko Migita Katsumi Yamato Gallery

Keiko Migita will be showing us her vivacious vision through her paintings. The drawings are done in a tempo that likens allegro. Her works tell stories from one to another. In the process, characters have been awoken, and dancing in a narrative. However, noticing the details within the dance requires great attention. Simply, performing her works, the textures will eventually be revealed to the audiences.
Koutarou Isobe Art Space Kin Gyo Koo Kan

He specialises in delicate Japanese painting. He has created a series of artworks named Biotop, more commonly known in English as Biotope, which is an area of uniform environmental conditions providing a living place for a specific assemblage of plant and animals. Another word in English Habitat. In Koutarou Isobes biological community, fireflies and frogs dominate the paintings. They are usually nestled in running water, accompanied by flora and fauna drawn with Japan-specific aesthetics. They seem peaceful and likens lifes beckoning to us for serenity. One could almost feel the breeze of tranquillity in his art pieces.
Encouraging talents to surface

These artists will be featured as part of a larger programme, which will also see the launch of the Young Art Award. This award encourages young talents from different parts of the world to stage their art-works. Galleries and juries will nominate three winners as showcases of a new vision in contemporary art. In addition, they will also be a pre-sale exhibition for exhibitors called the YAT13 Preview Tour. This will attract more potential clients, promoting the fair, hence enlarging the collector base.
62 63
SNEAK PEEK
It's the CausewayEXchange at George Town Festival and we pick out the highlights in this arts and culture interaction between Singapore and Penang, Malaysia.
More than two years back, the CausewayEXchange (CEX) arts festival was conceived to create a hotbed for deeper bonding and collaboration between artists in every discipline from Singapore and Malaysia. The two cities take turns to host last year saw Singapore host a variety of Malaysian artists and artistes. The upcoming CEX number four will have Singapores entertainers, music makers, artists, performers and writers show off their talent and mettle in historic George Town, Penang for 4 days come late June. CEX will run in conjunction with George Town Festival 2013 which is essentially a month of festivities with respects to heritage, arts and culture of Penang in ode of its listing as a UNESCO World Heritage Site in 2009. Shawn Lourdusamy, the CEX Festival Director says, CEX decided to go to Penang this year because we wanted to be a part of the rapid growth of the arts and cultural scene there. I believe the two festivals are natural partners as they share a common goal of making the arts available to a broader audience. Mr Lourdusamy also believes that taking CEX to Penang will give more Malaysians a chance to see international artists, Usually Singaporean and other overseas arts groups visiting Malaysia perform in Kuala Lumpur so this will be an opportunity for the people of Penang to see acts they might not normally have the chance to see and for the CEX artists to reach a new audience. With electronic music club nights, contemporary Hainanese opera, edgy standup comedy shows, theatre performances, visual arts shows and literary readings, CEX is hoping that there is something for everyone.
ART WORLD CHARM
Text: Valerie Wee Photos: CausewayEXchange
Facing page: Girls Power, Beauty (2011) Justin Lee 60cm x 40cm
64 65
SNEAK PEEK
Visual Arts
Khairullah Rahim
Khairullah Rahim feels that society generally views him as a minority and to a certain extent, marginalised and unimportant. His series of paintings portray the "sad but true" nature of the society we live in. By infusing elements of humour into the paintings, the animals have now been removed from its original context of a strong animal into somewhat of a laughing stock, thus to be taken lightly. Driven by his curiosity of the second-fiddle, Khairullah inverses the hierarchy and brings forward the enigmatic characters into the limelight. He employs a research-based approach, taking the role of a cryptozoologist, in his art making process, thereby creating a discourse about these often marginalised communities.
Justin Lee
A talented artist since his student days, Singaporean artist Justin Lee has participated and won highly commentated awards in several art competitions including UOB Painting of the year and Philip Morris Singapore Art Awards. He was also awarded the Mont Blanc Young Artist World Patronage Project 2006, at Hamburg, German. In 2000, he was also selected to complete a 6month intensive training programme at the Tyler Print Workshop in New York, under Mr. Ken Tylers supervision. Colours of Our Generation brings a different understanding of todays Singapore, its society and lifestyle that are a blend of east and west cultures. Lee believes that art plays an important part in helping people grow and actualise. Lee is known for his witty, thoughtful pop art works, in which he combines Chinese motifs with Western visual language. But beyond the bubbly exuberance of his pop art, he subtly creates an underlying awareness of our current societal condition through themes like consumerism, Asian identity, Chinese tradition and western influence on the east. His current works reflect on how text and images, like those from signage and billboard ads, can influence and control our thoughts and desires.
KEBABOM! (2012) Khairullah Rahim acrylic on canvas, 65 x 65cm
Luke Heng
The paintings of Luke Heng are shaped by meditation about the very approach to the practice itself. In his recent paintings, Heng uses the concept of Eastern philosophy and Chinese medicine to tackle the formal issues of painting such as harmony, proportionality and duality. Notably, he is interested in the affinities between painting and the concept of yin-yang, a fundamental principle of Chinese herbology. His work aspires toward monochrome painting if only to disrupt its purity of surface with subtle modulations of colour and appearance of gaps, lines and discrete breaks in the surface.
No.17 (White) Luke Heng
Girls Power, Bag (2011) Justin Lee 60cm x 40cm
Peranakan Silence @ The Intan

Peranakan Silence showcases a series of 17 works of art by hearing-impaired artists depicting various Peranakan artefacts, culture and lifestyles found at The Intan. Professionally curated by Sogan Art Gallery, a local art gallery that strongly supports Singaporean artists, the artists trace the wealth of the Peranakan culture and their significance in Singapore society. Based on their keen observations and peppered with lots of subtle humour, the artists re-tell their stories in contemporary settings, creating familiar everyday scenes and yet, ones that still retain the strong Peranakan heritage.
Ade Putra Safar

Ade Putra Safar spends a lot of time watching TV shows, films, reading books, surfing the Internet and taking pictures. From what seems like fairly ordinary activities, he distills and paints from there. To him, painting is a way of involving the world, a way of looking, seeing and also ordering. He experiments and creates his artworks with a variety of mixed media on canvas and materials; especially water-based colours. The more complicated it is, the more joy he derives from it. From the clutter of his environment and everyday life, he interprets his thoughts through a combination of abstraction, figuration and elements of both painting and drawing that is deliberately awkward and strange. As such, the familiar will be made unfamiliar and awkward.
Alter-Ego (The Animal Farm) Ade Putra Safar mixed media on canvas, (image shown above is only a portion of the full artwork)
Nicholas Eaw Cheng Shun
Together with fellow final year arts undergraduates, Khairullah Rahim and Luke Heng, the trio will be showing at Justin Lees Colours of Our Generation, which reflects their psyche living in a fast paced or instant society.
66 67
SNEAK PEEK
Literary Arts
Cyril Wong
Satori Blues is Singaporean writer Cyril Wongs longest and only Zeninspired poem to date. The poem is a response to post-Buddhist philosophies and is composed as a stream of thought at times epigrammatic, philosophical, fragmented, even exclamatory. Wong will be reading and discussing his poem with its spiritual and existential implications.
Theatre
Poems on Autumn Leaves

Be captivated by a contemporarised Hainanese opera based on the classic Chinese novel, Poem on Autumn Leaves! For the first time in Singapore, the Qiong Ju Society of Singapore will bring to the stage an adaptation of a movie based on the novel with a modern twist, as multimedia images of Chinese calligraphy and paintings are incorporated into each act. Watch the retelling of this touching tale between the scholar Wen and his lover Jiang as their tragic love story unfolds.
PERSPECTIVE
PARADISE FOUND
A recent exhibition in Singapore captures the yearning for paradise lost, and the secret similarities between Singapore and Manila
Words: Cassandra Naji Images: Ode to Art Gallery
rtists have always known that there is trouble in Paradise. Because Paradise, or more specifically the paradisiacal Garden of Eden symbolises, in Christian thought, mankinds fall from grace and the start of all sin and suffering. Eden has inspired visual art through the ages, from Hieronymus Boschs altarpieces to Damien Hirsts moribund installations. A recent exhibition in Singapores Ode to Art Gallery saw Filipino artists using Eden to explore the idea of a lost paradise homeland and notions of national identity. Entitled Perdido Eden (4 11 April 2013), the exhibition revealed secret similarities between Singapore and the Philippine capital Manila. The Philippines, a culturally diverse conglomeration of 7000 islands, has a complex conception of collective identity. Seized first by Spain, then
Japan and finally America, Filipinos joke they spent 400 years in a Spanish convent, five years in a Japanese prison camp and 65 years in Hollywood. Cultural complexity finds vibrant expression in the countrys contemporary art, which mixes Western iconography and styles with indigenous imagery. This unique combination has contributed to an explosion in both the creative vibrancy and market value of contemporary Philippine art in the past decade. Artists like Geraldine Javier and Ronald Ventura personify this success: Venturas Graygound sold at Sothebys in 2011 for USD1.1m the highest recorded bid for a Southeast Asian painting. Today, Filipino artists such as Norberto Peewee Roldan, featured in the Guggenheims UBS MAP Global Initiative in New York, and Mark Salvatus, winner of the
Schoeni Award at this years Sovereign Asian Art Prize, are increasingly gaining international recognition. The Filipino art scene has also undergone infrastructural change. Ten years ago the majority of art galleries were located in malls, but a rise in city-centre rents caused a bloom of artist-run spaces to spring up across Manila. Independent and vibrant, some of these initiatives involved Perdido Eden artists such as Louie Cordero and Gary Pastrana, who cofounded the art space Future Prospects. The Ateneo Art Awards were established in 2004 to highlight young Philippine artists, and 2013 has seen the first Art Fair Philippines, in which 24 city galleries showed fresh work in a Manila car park-cumexhibition space.
70 71 Robert Langenegger Nobel Prize for Painting Winner (2nd Runner Up , 2012)
PERSPECTIVE
Facing page, clockwise from top left: On Winter Passing Glaciers (2012) Maria Jeona Zoleta, oil on canvas, 5 x 5 ft Land Paintings (2012) MM Yu, 4 x 5 ft Untitled (Figure, 2013) Luis Santos, oil on canvas, 3 x 3 ft Strange Victory, Strange Defeat (2013) Louie Cordero, acrylic on canvas
Cities and Gardens of Eden Perdido Eden, featuring 13 emerging artists from Metro Manila, brought both the confidence and the complexity of Philippine contemporary art to Singapore. Allusive and elusive, the title of the show was taken from Mi Ultimo Adios (My Last Farewell), a poem by Philippine national hero Jose Rizal. Rizal composed the verse as he awaited execution in 1896. The verse tells of his affection for his patria, his homeland. The fact that the poem is written in Spanish, the language of the colonisers, reveals the complexity of Filipino relationship with national identity. As curator Isabel Ching explained, Already when Rizal wrote the poem, the country, although here, was not really here: it was either in the past or future, with the memory of it as an Eden as questionable as it is powerful. Despite its very Filipino title, Perdido Eden may well have resonated for Singaporean audiences. Many of us have this yearning for utopia, said Ching.We understand this feeling
or idea even in Singapore, where we are supposed to be a kind of utopia when people compare Singapore and Manila. What we are, what we connect to, is much more expansive than the physical boundaries of Singapore itself. Heavenly Bodies Biblical imagery was subtly present throughout the exhibition. Whether in video artist Cocoy Lumbaos transcendence of darkness in Untitled (Eclipse), or Ryan Villamaels fragile paper-cuttings connecting Catholicism, colonialism and cultural values, many of the works juxtaposed the word of God with the words of Rizal. Mark Andy Garcia paints Rizal as a preacher figure delivering a sermon on lost Eden to exhibition goers. The expressive brushwork and sombre palette of Preacher signified the intertwined strands of joy and suffering found in Christian thought. Fragments of text from the Bible were painted into the background, pointing to the transcendental, trans-cultural
significance of the poem. Also exploring the imagery of Christianity, painter Louie Cordero combines tradition with popular culture in his works. Strange Victory Strange Defeat is an eyeful of kitsch iconography, African odalisque and religious mysticism, creating an imaginary world at the crossroads of hallucination and reality. The otherworldly quality of the work evoked both familiarity and alienation: the viewer recognised the parts but not the whole, could map the individual signs but felt lost. In this way the painting invoked the condition of always being removed from an originary homeland, from Eden. Religion subtended the work of Robert Langenegger, but rather than transcendence, his work spoke of guilt and trauma. His painting for Perdido Eden showed the figure of Death, glass of Jack Daniels in one hand and scythe in the other, nursing a skinny baby and eyeing the viewer mockingly.
72 73
PERSPECTIVE
Dreams of the Name Less Hundred XXXVI (2013) Victor Balanon, 3 x 4ft
By playing with the idea of lost innocence, Langeneggers work often depicts nightmarish figures in domestic scenarios, hinting at the violence and social malaise of Manila. The Beauty of the Everyday Langeneggers work stood in contrast to the humorous assemblages of Paul Mondok. Combining objects and situations from everyday life, Mondok puts together sculptures that playfully evoke the absurd side of reality. In Perdido Eden, he showed a goldcoloured fibreglass hand clasping an unappetising box of chocolates branded Dreams. The hand was connected to a salary mans shirt and tie, but the clothes empty as if the body had vanished leaving only the markers of consumerism and consumption. The assemblage was placed in the gallery window looking out onto Raffles City mall: We put the [the piece] in the window as a sort of religious retail space with strong spotlights shining down on it, a tongue-in-cheek divine illumination,
explained Ching. Ive seen people pause and laugh when they saw this. MM Yus work was also placed in the gallery window, in the hope of making busy Singaporeans stop and wonder about reality, according to Ching. Finding beauty and whimsy in the urban chaos of Manila, photographer and visual artist Yu interleaves abstraction and repetition to uncover the beauty of simplicity. Her photography, grounded in her perambulations through Manilas streetscapes, turns the flotsam and jetsam of modern urban living rushing strangers, abandoned furniture, dead and dying dogs into unexpectedly beautiful icons. Standstill, a collection of photographs that are at once aesthetic abstracts and documentary shots of degradation, captured the urban dystopia in a way that brings out its utopian beauty. Found materials were also featured in the work of Gary Pastrana, who takes apart and remakes everyday
objects, reinterpreting their meaning. White Flag was a series of photographs showing Philippine flags that Pastrana made out of his old t-shirts and hoisted outside his Bangkok apartment. Hinting at homesickness, the images drew connections between self and nation state. Through the Looking Glass Bringing together artists with diverse approaches and practices, Perdido Eden cracked open the complexity of national identity in a way which transcended geographical borders. The artworks on display, through their explorations of a lost paradise homeland, asked audiences to question their own sense of place and identity. By encouraging audiences to view Manila and Singapore through Alices looking glass, in Chings words, Perdido Eden revealed the connection between the two Southeast Asian cities and their lost paradises.
Installation view of Compound in the Invisible Cities exhibition at MASS MoCA Sopheap Pich (2011) bamboo, rattan, metal wire, dimensions variable
PERSPECTIVE
JUST FOR YOU

Text: Richard Chua Photos: Taipei Fine Arts Museum
he director of the intimate theatre performance Nobody Gets Hurt Craig Quintero ensures that the audience member will not get hurt in his theatre performance, not physically though, but emotionally. In this piece of installation-cumtheatre performance, Quintero attempts to bring every audience on a journey that will allow them to revisit hurt in their everyday experience. Every audience member who has been through the trials and tribulations (in all their myriad ways) will see their present and past hurts playing out with an aesthetically beautiful narrative. Another director Joyce Ho has got the same intentions, albeit in a slightly more romantic way. Hurt in her piece seems to be more personal than Quinteros.
It is only through intimate theatre that we could achieve such a holistic experience. Curated by Taipei Fine Art Museum as part of a larger exhibition entitled True Illusion, Illusory Truth: Contemporary Art Beyond Ordinary Experience, Riverbed Theatre has converted part of the corridor in the museum into two intimate spaces, where two illusory worlds have been created, for two pieces of theatre playing to one audience at any one time. For this experimental theatre collective, creating theatre for one audience at a time is one of their new artistic strategies: breaking down barriers between the spectator and the audience, finding communion, sharing experience in the performative event, created just for you the audience. Beginning its journey from a hotel room to now a museum, they
strive to retain an audiences individuality, and to keep the audiences immediate and unique experiences in the theatre. In life, we experience immediate and unique responses to occurrences in life. One such immediate emotional response is hurt. Most people attribute this sensation (hurt) to essentially classified emotional responses caused by a sense of guilt and remorse. However, not many people do think that hurt is caused by betrayals from the promises the system has given. These promises are usually given by people to people. It is easy to locate the argument to the personal the one who has not fulfilled the promise, but what is usually the case the problems encountered when the promise is in the process of being fulfilled.
76 77
No One Gets Hurt Craig Quintero
PERSPECTIVE
In Quinteros piece Nobody Gets Hurt, every audience member is led into the small room. Individually they will be greeted by a faceless human being, with her face cut into half, with the face no-where in sight, sitting pensively outside a door of imagination. Behind the door lies an old car parked in a dark room. Having been invited to sit in the car, one cant help but to feel claustrophobic and uneasy. However, when the sheet covering the windshield starts to open itself up, the audience member could see whats going on outside the car. Like a voyeur, the audience sees images of day to day living through abstract performances. Every gesture for example, sharing the common smoking pipe between the two actors signifies an action we take on a daily basis. These actions are not mundane. They have been distilled to reflect the fundamentals. Whats most disturbing is when a female actor seems to enjoy being rear-ended by the car driven by the
audience member. It is a satisfying experience, both sexually and emotionally. The beauty of this festival lies in the theatrical experience the works generate. It is a sensorial and visceral experience. After being sexually and emotionally engaged in Quinteros work, the audience will be led to another piece of sensory theatre entitled Four Seasons, directed by Joyce Ho. In this piece, the audience will be presented a gift after the experience. This mythical gift enters our reality. It likens a gift a child might find beside him after having a dream filled with adventures. For the gift (the birthday cupcake) serves as a reminder how fragile life is. Fragility is Hos main entry point into the collaboration. Through the stories her grandfather told before his demise, she weaved a tapestry of words through a video installation worn on the actors head, featuring
her grandfather telling stories from his memory. Truly captured in the Chinese milieu, the ritual the audience is put through seems to echo the mythical belief that guards (usually in animal forms of horse and ox) from Hades will accompany us to the underworld. In this case, however, the semiotic reference is rabbits. Be it rabbits or cars, these are familiar items in our everyday life. However, in both Quinteros and Hos theatres, these items found in our reality have assumed another metaphorical identity in our imaginations. These imaginations reflect the fundamental truths that we consciously or unconsciously think about every single day. Just for You Festival is not only for the imaginative, but also those who need a friend to iron out the complexities in life, in order to achieve a sense of peace and tranquillity with added wisdom.
Four Seasons Joyce Ho
78 79
ART FOR GOOD
I am a strong believer that life is about a succession of opportunities that we choose (or not) to seize. And these choices define your life. They can manifest in many different ways through circumstances, locations, places and people who inspire you. In my case, it led me up the worlds tallest mountain and made me the 6th French woman to ever do so. But more importantly, it empowered me to help many others. This was in May 12th last year. In 2007 at a charity gala in London, I met Zainab Shalbi, founder of Women for Women International. I was smitten by her story, humility, passion for life, and an unconditional commitment and drive to help others. The 23-year-old Iraqi who was the daughter of Saddam Husseins personal pilot, is a survivor of the Iran-Iraq war that raged interminably for 8 years. After being sent to the United States for an arranged wedding, she found herself the victim of violence and abuse at the hands of her new husband. While fighting for her own life, she got to know about the plight of women in rape camps during the Balkan Wars and the alarmingly slow response of the international community to come to the rescue. It was then that Zainab Shalbi decided to do something about it. She set up Women for Women International in 1993, a charitable organisation to help women survivors of war.
Today, Women for Women International gives hope to more than 370,000 women survivors of war and helps them move towards economic self-sufficiency with year-long programs of direct aid, rights awareness, education, job skills training and small business development. I became very involved while living in London and continued to be after moving to Singapore. It was also because of Women for Women International that firs got me to Everest Base Camp. It was a fund raising trip last year in October 2011. We were led by yet another inspirational lady by the name of Sue Harper Todd who had already touched the top of Everest in 2004 for the organisation.
PEAK GRATITUDE
In her own words, one woman relates her experience of scaling to the top of the Mt Everest in a bid to express the art of giving.
Text: As narrated by Valerie Boffy Photos: Valerie Boffy & Karine Moge
ART FOR GOOD
While it may seem like a short time to get to the top of the mountain, the preparations that preceded the climb certainly took a lot longer. It was literally six months of intense training with various individuals in Crossfit Singapore who gave their time to toughen me up physically and mentally. There was, however, no training for altitude no one knows how their bodies will react as they start the process of acclimatisation up a mountain trek. The key is to ascend very slowly and give more time at each level to allow your body to produce additional red cells to carry the limited saturated oxygen to the brain, finger tips, toes and so on. When I got to Base Camp, I looked up, and my life tilted - it was beyond beautiful. Totally overwhelmed by emotions. I could not take my stare away from Mt Everests imperiously high peak. I felt as I had fallen under
a spell and my impossible dream of scaling its versants was slowly materialising before my eyes. Seven weeks away from my family was also seven weeks going up and down the mountain through the treacherous Khumbu Icefall, its massive and icy crevasses sending drafty chills through our domestic aluminum ladders strung together with only basic rope. I saw ice formations rise like houses above and over our heads. It was also nerve racking but necessary to be able to climb up to 7,400-metres to Camp 3 without oxygen to acclimatise my body. The air was only wafer-thin rich with oxygen and at the summit, I knew it would only hover at 30% saturation. Oxygen starved and tired, I was inevitably experiencing a gamut of emotions - exhilaration, fear and apprehension, joy, a burning sense of passion for life, and awestruck
humility in the face of this exquisite, most powerful and intimidating Earth Mountain. The final push to the summit lasted 5 days despite being only a 17-km stretch from Base Camp. In fact, the last 2.7 km above 8000-metres took a good 10 hours to climb in the still of the night! But it was a feast for the eyes, a tribute to life when after these 10 hours of trudging in darkness, dawn flowed like gold cosmic caramel upon us. I rested my body and my eyes on the majestic towering peaks with a full and obscured 360-degree view of the world around me. I reached the summit on May 19th last year, almost a year ago. At the summit, I unfolded a piece of paper that bore a message addressed to my son. The message for him was that he should live his dreams always
and live life with passion and courage. I also unfolded a message for all the women fighting for dignity as well as their lives as I dedicated this climb to each and every one of them. I felt extremely fortunate to have been able to fulfill my greatest dream. It was at that point that I decided to commit to helping those women around the world who are not as fortunate as I am. I plotted to form a team back in Singapore and raise funds. I sent an email to many of my girlfriends around the world and told them of my plans to invite them on another trek. In a month or so, 12 of them were ready to go. Every one of the team members had a very personal reason to participate. The trek would be hard and most were stepping outside of their comfort zone to live out
something extraordinary. Karine who is the qualified photographer trekked as a team member to Everest Base Camp at 5367 metres. She took many of the images are of the valley and luckily she did not experience extreme temperature nor altitude illness. I continued onto the summit with just a Nikon D7000 which I cradled in my sleeping bag while I slept or inside the multiple layers of my clothing as I climbed. At times, my Sherpa guide would take it from me and shield the DSLR from the extreme weather conditions in his clothes. At altitudes above 8000 metres, winds close to 100km/h and a freeze of minus 40 degree Celsius, I really had to muster up every part of me to focus on taking every s tep as well as capturing the moments of sunrise and the rugged faces of this mountain. It was not easy to stay still
and shoot with such conditions, especially when there were often steep drops of over 3000-metres on either side of me. I often had to shoot from the hip as we climbed. In this case, there was no turning back to catch another shot or a chance to wait for the perfect light to cast its glow on a subject. This was capturing visuals or art at the height of serendipity. The trek allowed us to raised over SGD100,000 which was donated to WFWI. Upon return, I decided, together with Karine Moge to tell a visual black and white story of our journey to the top of the world. We hope to raise another SGD50, 000 from the sales of this photographic showcase.
82 83
YES! I WANT TO SUBSCRIBE TO 6 ISSUES OF THE POCKET ARTS GUIDE (TPAG):

SINGAPORE/MALAYSIA ONLY SGD55 (incl. postage) OUTSIDE SINGAPORE USD80 (incl. postage)
*TPAG is issued bi-monthly
SUBSCRIBE
TO TPAG TODAY!
Complimentary copies of TPAG are available at several places 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 Boards Ticket Cube along Orchard Road, leading art galleries (Sunjin @ Holland Village, Chan Hampe @ Raffles Hotel, Art Trove @ Waterloo Street, Bruno Gallery @ Tanglin Place, Art Exchange @ The Central. 7Adam @ Adam Road and more). It is also distributed at IndoChine Group of Restaurants, Caf Papa Palheta and Caf Strangers Reunion, W Hotel Singapore @ Sentosa Cove, Front Row Boutique @ Raffles Hotel Arcade, New Majestic Hotel, Club 83 @ Club Street, Jeremy Ramsey @ Bukit Pasoh Rd, Marina Bay Sands. Browsing copies are also available at Lalique Boutique @ Mandarin Gallery, Boutique Baccarat @ Takashimaya, the American Club, British Club, Singapore Cricket Club, Singapore Island Country Club, St. Regis, Amara Sanctuary Resort, Ritz Carlton, Grand Hyatt, Goodwood Park Hotel, Residence at Martin No.38, The Marq on Paterson Hill, Affluent Banking Centres of Maybank, Aberdeen Asset Management and more. Hong Kong: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Diamond Suite of Lane Crawford, the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.
DETAILS / MAILING ADDRESS NAME: ADDRESS:
ZIP CODE: COUNTRY/CITY: EMAIL:

Resting Monk Nguyen Tuan MAD Musuem of Art & Design
CONTACT NO:
PAYMENT METHOD CHEQUE / BANK CHEQUE NO. Please make cheque payable to
Recycle.
Pass The Pocket Arts Guide forward.
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.
The Pocket Arts Guide Pte Ltd

and mail completed form with payment to: THE POCKET ARTS GUIDE 43 Jalan Merah Saga #03-62 Work Loft @ Chip Bee Singapore 278115 TELEGRAPHIC TRANSFER A/C Name: The Pocket Arts Guide Pte Ltd A/C No.: 629 350505 001 Bank: OCBC Bank Swift: OCBCSGSG Address: 249 Holland Ave Singapore 278980 Please scan and email completed form with proof of tt payment to subscribe@thepocketartsguide.com
ENLIGHTEN YOUR SOUL WITH ART

Over 100 pages of news, features, expert analysis, unique perspectives and groundbreaking artwork, from Asia and around the globe. The Pocket Arts Guide is available six times a year and is widely distributed in bookshops, galleries, developments and major art venues in Singapore and Hong Kong.
Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. TPAG, ISSN 2010-9739, is published 6 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise 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 last minute 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 interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.
www.thepocketartsguide.com
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.
TANJONG PAGAR, CHINATOWN & RAFFLES PLACE

1 iPreciation, The Fullerton Hotel 2 DreamSpace Art Studio
SINGAPORE ART MUSEUM AREA

1 2 3 4 5 6 7 8 9 10 11 12 13 14 The Substation Art Plural Gallery Art Trove Yavuz Fine Art The Private Museum M Gallery Forest Rain Gallery Sculpture Square Art Galleries @ NAFA The Luxe Art Museum Yisulang Art Gallery Art Gallery 3 Art Seasons Gallery Mulan Gallery
17
3 Utterly Art 4 Galerie Sogan & Art 5 Yong Gallery 6 Art Commune Gallery 7 Indigo Blue Art 8 Art Club Singapore 9 Galerie Belvedere 10 Galerie Steph 11 Ikkan Art International 12 ReDot Fine Art Gallery 13 Valentine Willie Fine Art 14 Art Xchange Gallery 15 Ken Crystals 16 Viridian Art House 17 80 Gallery - Song Nian Art Gallery
ESPLANADE & MARINA BAY SANDS

1 2 3 4 5 6 7 8 9 10 11 12 13 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
ORCHARD ROAD
1 Pop and Contemporary Fine Art 2 Gallery Reis 3 Art Space @ Scotts 4 Opera Gallery 5 Heng Artland 6 M.A.D Museum of Art & Design
86 87
GALLERY SPOTTED
HOLLAND VILLAGE
1 2
Sunjin Galleries Taksu
ADAM PARK
7Adam
Lion City Art Gallery

19 Tanglin Road #02-07 Tanglin Shopping Centre Singapore 247909 T: +65 6733 0289 / F: +65 6336 9975 E: lioncityartgallery.sg@gmail.com Facebook: Lion City Art Gallery Opening Hours Mon Sat: 11am to 6.30pm Sunday: 1pm to 5pm
TANGLIN ROAD
1 Bruno Gallery 2 The Gallery of Gnani Arts 3 Boons Pottery 4 HaKaren Art Gallery
5 Lion City Art Gallery 6 Yang Gallery
RIVER VALLEY ROAD
1 Icon Gallery 88 89
ART DIRECTORIES
Art Seasons Gallery
SINGAPORE GALLERIES
09
1 Selegie Road PoMo #02-21/24 Singapore 188306 +65 6741 6366 info@artseasonsgallery.com www.artseasonsgallery.com Mon Sat: 11am to 7pm
Closed on Sundays and Public Holidays or by appointment only
Yong Gallery Calligraphy and Woodcarving

260 South Bridge Road Singapore 058809 Tel /Fax: +65 6226 1718 Hp: +65 9786 6916
yong_gallery_singapore@yahoo.com http://yonggallerysart.blogspot.com
The Gallery of Gnani Arts Forest Rain Gallery

Tanglin Shopping Centre 19 Tanglin Road #01-17 Singapore 247909 +65 6735 3550 arts@gnaniarts.com www.gnaniarts.com Mon to Sat: 10am 7pm
Closed on Sundays
The Art Club Singapore

98B Duxton Road Singapore 089542 +65 9838 2353 (Daniel)
daniel@theartclubsingapore.com
+65 8128 8661 (Marcus)

marcus@theartclubsingapore.com
ARTXCHANGE Gallery
6 Eu Tong Sen Street #02-65 The Central Singapore 059817 +65 9027 3997 benny.oentoro@live.com www.artxchangegallery.com Mon Sat: 11am to 9pm
261 Waterloo Street #02-43/44 Singapore 180261 +65 6336 0926 info@forestraingallery.com www.forestraingallery.com Mon Fri: 10am to 6pm Sat: 10am to 4pm
Sunday and Public holidays by appointment only
Impress Galleries
1 Kim Seng Promende #02-07/08 Greatworld City Singapore 237994 +65 6736 2966 / 6440 4533 impress@singnet.com.sg www.impressgalleries.com 10.30am 9.30pm daily
Minut Init Studio Galleria

Third Floor 29B Jalan SS 21/37 Uptown Damansara Utama 43700 Petaling Jaya, Selangor +60 1 9697 8897
minut.init@gmail.com www.minutspaceinit.blogspot.sg
Daily: 10am to 7pm
Mon Fri: 5pm to 9pm

Or by appointment
www.theartclubsingapore.com
Facebook: TheArtClubSingapore
By appointment only
7Adam
7 Adam Park Singapore 289926 +65 6463 0777 enquiries@7adam.com www.7adam.com Open Daily: 11am to 8pm
C
Heng Artland 290 Orchard Road #04-08 Paragon Singapore 238859 +65 6738 4380 arts@hengartland.com.sg www.hengartland.com Open daily: 10.30am 8.30pm
Ins Art International

545 Orchard Road #03-22 Far East Shopping Centre Singapore 238882 +65 9180 7648 +65 9637 8472 sales@insart.com.sg www.insart.com.sg Mon Sat: 12pm to 7.30pm
Sunday and Public holidays by appointment only
Sunjin Galleries
43 Jalan Merah Saga #03-62 Work Loft@Chip Bee Singapore 278115 +65 6738 2317 info@sunjingalleries.com.sg www.sunjingalleries.com.sg Tue Fri: 11am to 7pm Sat: 11am to 6pm
Galerie Steph
ARTSPACE@Helutrans 39 Keppel Road Tanjong Pagar Distripark #01-05 Singapore 089065 +65 9176 8641 steph@galeriesteph.com www.galeriesteph.com Tues Sat: 12pm to 7pm Sun: by appointment only
80 Gallery Song Nian Art Gallery

80 South Bridge Road #01-01 Singapore 058710 +65 6438 4481 info@80gallery.org www.80gallery.org Tue Sat: 12 pm to 6.30 pm Sun: 12pm to 5 pm
Closed on Mondays & Public Holidays
Cape of Good Hope Art Gallery Art Gallery 3

231 Bain Street #02-89 Bras Basah Complex Singapore 180231 +65 6333 4283 pohbeechoo@hotmail.com Mon Sat: 11am to 7pm Sun Public Holidays: 12pm to 6pm 140 Hill Street #01-06 MICA Building Singapore 179369 +65 6733 3822 info@capeofgoodhope.com.sg www.capeofgoodhope.com.sg Daily: 11am to 7pm
Icon Gallery
476 River Valley Road Singapore 248361 +65 6735 4550 Hp: +65 9326 7405 info@icongallery.sg www.icongallery.sg Tues Sat: 10.30am to 6.30pm Sun: 11am to 5pm
Closed Mondays & Public Holidays
Lion City Art Gallery

19 Tanglin Road #02-07 Tanglin Shopping Centre Singapore 247909 +65 6733 0289
lioncityartgallery.sg@gmail.com Facebook: Lion City Art Gallery
Studio 67 Art Space

No. 67 Kampong Bahru Road +65 6225 7667 enquiries@studio67.com.sg www.studio67.com.sg Mon Fri: 10am to 8pm
Mon Sat: 11am to 6.30pm Sunday: 1pm to 5pm
90 91
ART DIRECTORIES
ART AUCTIONEERS
Christies Hong Kong Limited 22/F Alexandra House 18 Chater Road, Central Hong Kong Sothebys Singapore Pte Ltd 1 Cuscaden Road Regent Hotel Singapore Singapore 249715 Larasati 15 Scotts Road, #05-08/09 Thong Teck Building Singapore 228218
ART SERVICES
ART STUDIOS
MUSEUMS + ART VENUES

Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street
HONG KONG ART SPACES

Para/Site Art Space G/F, 4 Po Yan Street, Sheung Wan, Hong Kong ART ONE The Fine Art Destination M/F Convention Plaza, 1 Harbour Road, Wanchai, H.K. +852-21316120 +852-31124887 info@artone-hk.com www.artone-hk.com Open Daily 11am 7pm
The 15,000sq.ft. indoor art destination you can't miss! Located at Wanchai, less than one min. walk to Hong Kong Convention and Exhibition Centre and Hotel Grand Hyatt, which houses 9 well-known art galleries now, and hold different exhibitions from time to time! The place art lovers must go!
ART SCHOOLS
Lasalle 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St Art Schools School of the Arts Singapore (SOTA) 1 Zubir Said Drive Singapore 227968 The Singapore Tyler Print Institute 41 Robertson Quay
Synergraphic Design 10 Changi South Street 1 Singapore 486788 +65 6546 4133 sales@synergraphic.com.sg www.synergraphic.com.sg Mon Thur: 8.30am to 5.45pm Fri: 8.30am to 5.30pm Sat: 8.30am to 12.30pm
Closed on Sundays
AXA Art Asia Hong Kong +852 2161 0000 axa-art@axa-insurance.com.hk Singapore +65 6880 4957 art@axa.com.sg China +8621 6156 3500 axa-art@axa-ins.com.cn www.axa-art.com Providing tailor-made solutions to private and corporations, museum, galleries and exhibitions; coverage for paintings and sculptures, rare books, wine and other collectibles.
Leo Hee Tong Block 173, Bishan St 13, #05-105 Singapore 570173 +65 6258 8787 + 65 9794 6511 leoheetong@hotmail.com Studio 404 91 Lorong J Telok Kurau Road Singapore 425985
Liu Xuanqi Art Studio Goodman Arts Centre 90 Goodman Road Block B #04-08 Singapore 439053 +65 9168 7785 hillad2006@gmail.com Opens daily: 9am to 6pm
National Museum 93 Stamford Road Singapore 178897 Asian Civilisations Museum 1 Empress Place Singapore 179555 National University of Singapore Museum (NUS) University Cultural Centre 50 Kent Ridge Crescent National University of Singapore Singapore 119279 Goodman Arts Centre 90 Goodman Road Singapore 539053
Synergraphic Design specialises in design and manufacture of decorative, sculptural and structural glass art works for use in architectural and interior spaces.
Puerta Roja Private Latin Art Space Shop A, G/F Wai Yue Building 15 17 New Street Sheung Wan, Hong Kong +852 2803 0332 info@puerta-roja.com www.puerta-roja.com By appointment only Sin Sin 53-54 Sai Street Central, Hong Kong Schoeni Art Gallery 21-31 Old Bailey Street Central, Hong Kong
Agility Fine Arts +65 65000250 finearts@agilitylogistics.com www.agilitylogistics.com - 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 Ltd 39 Keppel Road, #02-04/05 Tanjong Pagar Distripark Singapore 089065 +65 6225 5448 info@helutrans.com www.helutrans.com Storage Solutions Art Handling & Shipping Artspace Rental Project Management
Leslie Goh Strangers' Reunion 37 Kampong Bahru Road Singapore 169356 + 65 9681 1418 paint@lesliegoh.com.sg www.lesliegoh.com.sg 9am-10pm daily except Tue Please call for appointments/enquiries
Urich Lau Wai-Yuen Goodman Arts Centre 90 Goodman Road Block B #04-07 Singapore 439053 +65 9682 7214 urichlwy@gmail.com By appointment only
Sculpture Square 155 Middle Road Singapore 188977 MICA Building 140 Hill Street Singapore 179369 Telok Kurau Studios 91 Lorong J Telok Kurau Singapore 425985
Belgravia Gallery 12/F Silver Fortune Plaza 1 Wellington Street Central, Hong Kong Ben Brown Arts 301 Pedder Building 12 Pedder Street Central, Hong Kong Cat Street Gallery 222 Hollywood Road Sheung Wan Hong Kong Edouard Malingue Gallery First floor, 8 Queen's Road Central, Hong Kong
EUROPE AND THE US

Flo Peters Gallery Chilehaus C, Pumpen 8 20095 Hamburg Germany +49 40 3037 4686 info@flopetersgallery.com www.flopetersgallery.com Galerie Christian Lethert Antwerpener Strasse 4 D - 50672 Kln (Cologne) Germany Alan Cristea Gallery 31 & 34 Cork Street London W1S 3NU White Cube 48 Hoxton Square, London N1 6PB L & M Arts 45 East 78 Street New York 10075
92 93
Times Insurance Consultants is a specialist in providing comprehensive insurance policies to cover a wide spectrum of art objects including paintings and sculptures, collectible wines, antiques, rare books, jewelleries and more. Contact: Ms Sally Lee +852 9095 6316
sally.lee@timesinsurance.com.hk
Lotus Fine Arts Logistics (S) Pte Ltd 6 Lok Yang Way Singapore 628625 +65 6266 7660 www.lotus-art.com Packing & Crating Installation & Transportation Project Management Climate controlled Storage Insurance
Lim Leong Seng Studio 107 91 Lorong J Telok Kurau Road Singapore 425985 +65 9738 2792 leongseng8@hotmail.com www.limleongseng.com.sg By appointment only
Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B #03-14 Singapore 439053 +65 9151 3227 cice_lin@yahoo.com By appointment only
Damina Gallery 1406 Oceanic Centre 2 Lee Lok Street Ap Lei Chau Hong Kong +852 9575 6439 donna@daminagallery.com www.damina-gallery.com By appointment only Gagosian Gallery 7/F Pedder Building 12 Pedder Street Central, Hong Kong
ART DIRECTORIES
HONG KONG GALLERIES
09
10 Chancery Lane Gallery

10 Chancery Lane, Central, Hong Kong +852 2810 0065
info@10chancerylanegallery.com www.10chancerylanegallery.com
Alisan Fine Arts

Room 2305 Hing Wai Centre, No.7 Tin Wan Praya Road, Aberdeen, Hong Kong +852 2526 1091 info@alisan.com.hk www.alisan.com.hk Tue Sat: 10.30am to 17.30pm
Closed Monday, Sunday & public holidays
Fabrik Contemporary Art

Gallery 12, Art One, M/F Convention Plaza, 1 Harbour Road, Wanchai, Hong Kong +852 2525 4911 info@fabrik-gallery.com www.fabrik-gallery.com Tue Sat: 11am to 7pm
Platform China HK LDX Gallery Hong Kong Karin Weber Gallery

G/F, 20 Aberdeen Street, Central, Hong Kong +852 2544 5004 art@karinwebergallery.com www.karinwebergallery.com Mon Sat: 11am to 7pm Sun: 2pm to 6pm Gallery 13, Art One, M/F Convention Plaza, 1 Harbour Road, Wanchai, Hong Kong +852 2511 2660 info@ldxgallery.com www.ldxart.com Mon Sat: 11am to 7pm 601, Chai Wan Industrial City Phase 1, 60 Wing Tai Road, Chai Wan, Hong Kong +852 2523 8893 hk.platformchina@gmail.com www.platformchina.org Tues Sat: 10.30am to 6.30pm
By appointment only
Tue Sat 10am to 6pm
Contemporary by Angela Li G/F, 248 Hollywood Road Sheung Wan, Hong Kong +852 3571 8200 info@cbal.com.hk www.cbal.com.hk Mon Sat: 11am to 7.30pm Sundays & PH: 12pm to 5pm
D
Feast Projects Amelia Johnson Contemporary
G/F 6-10 Shin Hing Street, NoHo, Hong Kong +852 2810 0065 info@ajc-art.com www.ajc-art.com Tue Sat 10.30am to 6.30pm Unit 307, 3/F, Harbour Industrial Centre, 10 Lee Hing Street, Ap Lei Chau, Hong Kong +852 2553 9522 info@feastprojects.com www.feastprojects.com Tue Sat: 12pm to 7pm
Kwai Fung Hin Art Gallery

G/F, 20 Ice House Street, Central, Hong Kong +852 2580 0058 art@kwaifunghin.com www.kwaifunghin.com Mon Sat: 10am to 6.30pm
Nexto Contemporary Art

Unit 2226, 22/F Block F Wah Lok Industrial Centre, No.31-35 Shan Mei Street, Fotan Shatin, Hong Kong +852 5638 7708 info@nextoart.com www.nextoart.com Mon Fri: 11am to 7pm
(normal hours)
Pearl Lam Galleries

601 - 605 6/F, Pedder Building, 12 Pedder Street, Central, Hong Kong +852 2522 1428 info@pearllamgalleries.com www.pearllam.com Mon Sat: 10am to 7pm
De Jian Tang
3/F., 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong +852 2552 8168 enquiry@dejiantang.com www.dejiantang.com Mon Fri: 9am to 1pm, 2pm to 6pm Saturday: 9am to 1pm
Tues Sat: 11am to 7pm
Galerie Ora-Ora
Unit 307, 3/F, Harbour Industrial Centre, 10 Lee Hing Street, Ap Lei Chau, Hong Kong +852 2851 1171 info@ora-ora.com www.ora-ora.com Mon Fri: 10am to 7pm Sat: 11am to 5pm
(exhibition hours)
Closed on Sundays and Public holidays
A0 Vertical Art Space

Asia One, 13/F Asia One Tower 8 Fung Yip Street, Chai Wan, Hong Kong +852 2976 0913 sarahgreene@asiaone.com.hk www.aovertical.com Mon Sat 10am to 6pm
E
Edouard Malingue Gallery
First Floor, 8 Queens Road Central Hong Kong +852 2810 0317 mail@edouardmalingue.com www.edouardmalingue.com Mon Sat: 10am to 7pm
Koru Contemporary Art

1604/16F Hing Wai Center 7 Tin Wan Praya Road Aberdeen, Hong Kong +852 2580 5922 info@koru-hk.com www.koru-hk.com Tue Sat: 11am to 6pm
Or by appointment
Shin Hwa Gallery

G/F, 32 Aberdeen Street, Central, Hong Kong +852 2803 7960 info@shinhwagallery.com
www.facebook.com/ShinHwaGallery
Tue Sat: 10.30am to 7.30pm

Closed Monday & public holidays
Identity Art Gallery

53 Tung Street Sheung Wan, Hong Kong +852 2540 5353 info@identityartgallery.com www.identityartgallery.com Tue Sat: 11am to 7pm
94 95
TPAG CLASSIFIEDS
ARTWORK / EXHIBITION SPACE / ART LESSONS / ART MATERIALS
carry a We spectrum of high quality modern, classic paintings and sculptures by the most sought after Singapore Pioneer and Contemporary artists.
BRUNO GALLERY
91 Tanglin Road (in between Tudor Court & St. Regis) #01-03 Tanglin Place, Singapore 247918 Tel / Fax: +65 6733 0283 www.brunoartgroup.com singapore@brunoartgroup.com
INS ART INTERNATIONAL PTE LTD 545 Orchard Road #03-22, Far East Shopping Centre, S238882 Email: sales@insart.com.sg | www.insart.com.sg
BRUNO ART GROUP Singapore | Israel | Venice | Turks&Caicos
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: sales@thepocketartsguide.com

The Pocket Arts Guide #39 - May/Jun 2013

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

The Pocket Arts Guide #39 - May/Jun 2013

Загружено:

Авторское право:

Доступные форматы

MAY/JUN 2013 ISSUE 39

ONE WITH ART

TPAG ISSUE 39 MAY/ JUNE 2013

16IN THE LIMELIGHT

80 ART FOR GOOD

YOO SUN TAI

On The Cover: Qing Yan Yin Zhaoyang

The Words (2012) Yoo Sun Tai 53 x 65cm, acrylic

MAY/JUN 2013 ISSUE 39

ONE WITH ART

TPAG ISSUE 39 MAY/JUNE 2013

TPAG ISSUE 39 MAY/JUNE 2013

Mommy Daddy: Art for the Love of Parents 08.05.13 15.06.13

TPAG ISSUE 39 MAY/JUNE 2013

Assemblage: Chun Kwang Young 29.05.13 27.07.13

TPAG ISSUE 39 MAY/JUNE 2013

Text: Rachel Smith Photos: Art One Hong Kong

TPAG ISSUE 39 MAY/JUNE 2013

TPAG ISSUE 39 MAY/JUNE 2013

TPAG ISSUE 39 MAY/JUNE 2013

Untitled (2012) Fang Lijun, ink on paper, 24 x 33cm

TPAG ISSUE 39 MAY/JUNE 2013

Mark Saunderson Director Fabrik Contemporary Art

Joey Lee Gallery Manager LDX Gallery

Serena Leung Art Consultant Wan Fung Art Gallery

TPAG ISSUE 39 MAY/ JUNE 2013

COME WHAT MAY

ART BASEL HONG KONG 2013

TPAG ISSUE 39 MAY/ JUNE 2013

Photo: ARNDT Berlin

Photo: Galleria S.A.L.E.S Roma

ASIA CONTEMPORARY ART SHOW

BANK ART FAIR

Photo: de Sarthe Gallery

TPAG ISSUE 39 MAY/ JUNE 2013

ART BASEL HONG KONG

ASIA CONTEMPORARY ART SHOW

The More Art Fairs, The Merrier

Warmness Choi Seung Ae

BANK ART FAIR

TPAG ISSUE 39 MAY/JUNE 2013

Text: Valerie Wee Photos: Asia Contemporary Art Show

TPAG ISSUE 39 MAY/JUNE 2013

THE WORLD ACCORDING TO TORO

Text: Valerie Wee Photos: Quincy Castillo

TPAG ISSUE 39 MAY/JUNE 2013

Toro walks through his works to give us a retrospective.

TPAG ISSUE 39 MAY/JUNE 2013

Toro Ancestors Toro Roots was a

Over Carbs are the celebrities who

TPAG ISSUE 39 MAY/JUNE 2013

Passion 8 acrylic on canvas, 100cm (W) x 140cm (H)

Passion 6 acrylic on canvas, 100cm (W) x 140cm (H)

TPAG ISSUE 39 MAY/JUNE 2013

The Still Life (2005) copper wire, 50 x 50 x 50cm

TPAG ISSUE 39 MAY/JUNE 2013

The Leaf (2013) copper wire, 120 x 160 x 10cm

The Pot (2013) copper wire, 72 x 72 x 70cm

The Leaf (2013) copper wire, 160 x 160 x 10cm

The Landscape (2009) copper wire, 177 x 130 x 5cm

What are some of the things in life that intrigue you?

TPAG ISSUE 39 MAY/JUNE 2013

Sanctuary 9, 145.6 x 103 cm