The Singapore Biennale 2011 Open House - assessing the two interactive

artworks at Marina Bay

By tapping on curators, artists, educators and other art professionals, this research paper aims
to collect opinions and qualitative data in order to make an assessment of the two interactive
artworks situated at Marina Bay as part of the Singapore Biennale 2011. This includes
exploring their conceptual relevance to the theme of the Biennale, their appeal to both art
professionals and audiences, choice of artist and medium, their effectiveness, and finally,
what sort of any larger socio-cultural communication that can be read from the works.

AUTHOR: Benjamin Low Teck Hui
STUDENT ID: 12406
EMAIL: benjamin.low@mylasalle.sg
CONTACT: 97974063
PATHWAY: Interactive Art
LEVEL: One

An academic research paper submitted in partial fulfillment of the requirements for the
Diploma of Media Arts (Interactive Art)

Date of submission: 8 March 2011
LASALLE College of the Arts
Benjamin Low Teck Hui


Signed Statement
This paper represents my own work except where otherwise indicated or acknowledged. No
part of this essay has been or is concurrently submitted for any other qualification at any
other academic institutions.
Signed: ___________________
Name: ___________________
Student ID number: ___________________
1

Contents

Section title Page
A. Background and objectives of research 2
B. Designing the survey 4
C. Analysis of data findings 6
D. Implications 10


Appendices
I. Extract of media release for SB11
II. Summary of data findings


2

A. Background and objectives of research
The Singapore Biennale (SB) was established in 2006, and is Singapores most
internationally significant contemporary art event and the largest contemporary art exhibition
in South East Asia. It aims to situate contemporary art from Singapore and Southeast Asia
within a broad international conversation
1
.
The selection of artists, the carried theme, the kind of artworks displayed and the choice
of venues are all important, because they reflect current artistic trends, represent a particular
image that Singapore is sending to the world, and offer a kind of window into the larger
socio-cultural concerns of our times.
In this context, this paper looks at the Biennale through the lens of the two interactive
artworks situated at Marina Bay. There are four venues in total for the Singapore Biennale
2011 (SB11). While the other three venues carry most of the artworks, it is interesting to note
that Marina Bay only has two artworks, both of which are interactive.
Number of artists per venue
Singapore Art Museum/
SAM at 8Q : 15
National Museum of Singapore : 18
Old Kallang Airport : 28
Marina Bay : 2




1
See Appendlx l: Medla 8elease for S811, page 1.
3

From these few facts alone, a number of interesting questions can be deduced: How are
they related to the theme Open House and convey the intended idea of amplifying individual
experience in the city? Would both audiences and critics like them? Why Marina Bay? Why
only two artworks? Why were these artists chosen? Why interactive? Is there any larger
socio-cultural context that can be read from the works and if so, what is it? All these will be
addressed in the survey.
For the survey which will be completed before the actual event, I will be formulating my
research as a hypothetical or theoretical inquiry, based on information found in the media
release in December 2010 (as opposed to field research). My research method is as follows:-
Research method
Data collection format: Survey
Date/Time of Activity: 25 Feb 8 Mar 2011
Demographic of participants: i. Art professionals with at least five years in
industry (e.g. curators, educators, artists,
academics)
ii. Minimum of five persons who represent at
least five different organisations/ institutions
(e.g. schools, art organisations, galleries)
iii. Gender: both male and female
iv. Age: 30 and above
v. Nationality: both Singaporean and foreign
4

B. Designing the survey
The survey is appended in Appendix III.
There are a number of considerations that I have to bear in mind in designing the survey:-
1. Providing information.
Since this is a hypothetical or theoretical research, and not field research, I need to
give my participants material on which they can base their opinions on, because there are
no physical samples for observation. While the media release is a suitable choice as it is
comprehensive and gives a clear and detailed description of the SB11, there is also too
much information.
It will put my participants off if they have to read it in its entirety, especially since this
survey is in the form of an electronic correspondence, the content of which cannot be
lengthy and complex. Therefore, I have extracted only relevant information and compiled
them into an abstract which I will send to my participants. Even then, the word count runs
to nearly 2000 words and 7 pages. This extract is appended as Appendix I.
2. Soliciting responses.
Soliciting responses is a difficulty faced in all surveys, and yet the more responses
there are, the better the quality and accuracy of the findings. I have to assume that my
respondents are busy people and have a short attention span. I will not approach strangers
and will only approach people I know so which should increase my chances of getting a
response. I will ask each respondent individually and be as polite in tone as possible.
3

The fact that my respondents are art professionals means that the SB11 should be
related to their industry in some way or another, and the findings of the survey would
probably be of interest to them.
I must include the deadline for their response. In this case, it would be end of Sat 5
Mar, and I will be giving them ample time of about a week to fill in the survey.
3. Choice of open-ended questions or multiple choice
I have to bear in mind that although survey questions are more scientific because they
involve quantitative or measurable data, they are also closed questions which do not allow
nuances of meaning. Therefore a few open-ended questions are also necessary to obtain
qualitative data.
4. Limiting the number of questions.
The survey must be as short and succinct as possible, therefore each question must
count. The number of open-ended responses should be no more than five, and the number
of survey questions (which just requires a tick) can be more, but preferably no more than
ten.
5. Phrasing the questions
The questions have to be phrased in such as way so as to be unambiguous, and also be
as neutral as possible so as not to create bias in the findings.



6

D. Analysis of data findings
Theme and Concept
Merlion Hotel is deemed to be rather relevant to the SB11 Open House theme (that
suggests the crossing of thresholds between public and private, where boundaries and borders
are made permeable), whereas Lozano-Hemmers light installation is deemed to be slightly
irrelevant. In other words, it is more difficult to relate the latter artwork to the theme.
While the two works at Marina Bay are meant to offer spectacular encounters which
at the same time amplify individual experience, the responses were somewhat neutral about
this, with Lozano-Hemmers light installation slightly favoured over Merlion Hotel. While
the light installation is definitely spectacular due to its scale and visual impact, it may be
difficult to relate to it from an individual point of view. The Merlion Hotel is more obvious
in its private experience of a public icon. However, it is not exactly as spectacular in its
visual impact.
Overall, both artworks are successful in its thematic relevance.

Appeal
The Merlion Hotel is deemed to be a fresh and original idea. While Lozano-
Hemmers light installation is also somewhat original as well, the artist is well known for
such similar works. Both works have universal appeal and audience friendly, as opposed to
being controversial, esoteric or provocative. Both artworks appeal to local and foreign
audiences alike and are attractive and engaging.
Overall, both artworks are original, have mass appeal and are audience friendly.
7

Venue
As to the choice of Marina Bay for situating these two large scale interactive artworks,
the responses are generally neutral, which means that there may or may not be better choices.
However, the respondants generally think that Marina Bay could accommodate more than
two artworks, presumably due to its size.
Marina Bay can probably accommodate more than two artworks and other
venues could be considered as well for these two artworks.

Artist
Both Nishi and Lozano-Hemmer are deemed to be suitable choices of artist for these
commissions, presumably due to their reputation for their body of works.
When queried as to whether they think local artists are up to the task if commissioned
in place of these two world famous artists, the respondants are evenly split, with the four
local practicing artists having confidence in local artists and the other three disagreeing. This
is an interesting observation and reflects a very natural participant bias. The sentiment by the
local artists were that local artists in general should be given more public trust, support and
confidence, as they are usually sidelined in favour of famous foreign names when it came to
big media events like the National Day Parade, or big public commissions such as sculptures
or buildings.
Nishi and Lozano-Hemmer are suitable artists for the commission although
Singaporean artists should be considered as well.

8

The interactive experience
There is unanimous agreement that the interactivity of the artworks enhances their
impact and effectiveness as well as the experience of it. Justifications include immersing the
audience to be involved in the artwork, and creating a memorable experience.
The respondants also felt that there should be more interactive artworks in future
Biennales. However, so far, when it came to new media artworks (which include interactive
artworks), only big names have been commissioned in previous Biennales.
Interactive artworks ought to be featured more in the Singapore Biennale.

Effectiveness
The Merlion Hotel succeeds in the way it challenges the viewer (hotel guests) to see
the cultural icon in a different way by interacting with it in a private space. Lozano-
Hemmers light installation succeeds in its scale and visual impact, which provides an
immersive experience. As opposed to the Merlion Hotel, it is also more democractic in its
audienceship as anyone can interact with the lights using the sound of their own voices, thus
empowering the masses. There were no strong suggestions for improving the artworks in any
way.
Both artworks are effective in their own ways and could probably not be
improved further.


9

Socio-cultural relevance
For the Merlion Hotel, its socio-cultural relevance is not obvious nor immediately
clear. Some respondants hesitated to speculate, citing the need to experience it and the
dialogical process that would determine its socio-cultural content. Some respondants felt that
it is gimmicky and superficial, merely a tourist magnet. One respondant read from it the
championing of participatory art that challenges the notion of the white cube and also its
implication of a modern consumerist culture that wants to consume the artwork (bookings
for all 32 nights of the hotel were taken up in less than an hour when the telephone line was
opened for booking).
Again for Lozano-Hemmers light installation, the socio-cultural implications are not
clear as well. Some respondants hesitated to speculate, citing the need to experience it and the
dialogical process that would determine its socio-cultural content. One respondant cited it as
an abstract work that works on the level of individual perception and is hence more
sophisticated and layered than the Merlion Hotel in this sense. Some respondants read from
it the notion of power or empowerment of the audience by being able to control and
manipulate the light devices, participatory art being able to facilitate a two way flow of
meaning.
Both artworkss socio-cultural relevance are not immediately apparent and
cannot be deduced from this survey.
10

E. Implications
1. The two artworks are thematically relevant, interesting, engaging and conceptually
effective. They are probably going to be popular and widely discussed when the SB11 opens.
2. More interactive artworks should be featured in future Biennales.
3. Singaporean artists should be considered in the commissioning of such large scale
interactive artworks.
4. A survey of people who will actually experience the artworks would draw more definitive
conclusions about their socio-cultural relevance.

F. Appendices
I. Extract of media release for SB11
II. Summary of data findings

Note:ThefollowingisanextractfromtheMediaReleasemeantforpurposesofasurvey

15December,2010

FULLLISTOFARTISTSANNOUNCED
AnOpenHousetoSingaporeasHome,CityandInternationalPort
ThethirdeditionoftheSingaporeBiennale(SB2011),OpenHouse,featuresover150worksby
63artistsfrom30countries.Opentothepublicfrom13Marchto15May2011,thiseditionof
theBiennaleisledbyArtisticDirectorMatthewNguiandcuratorsRussellStorerandTrevor
Smith,andisorganisedbytheSingaporeArtMuseum(SAM)oftheNationalHeritageBoardand
supportedbytheNationalArtsCouncil,Singapore.

AstheleadingBiennaleinSoutheastAsia,SB2011situatescontemporaryartfromSingapore
andSoutheastAsiawithinabroadinternationalconversation.Thetitleisconceivednotasa
themebutasaninvitationoropenhouseontocontemporaryartisticpractice.Artists
practicesarenotsimplygroundedindescribingorportrayingsubjectsintheworld,butare
oftenactualattemptstoexchangeinformation,translateexperiencesandtradeplacesand
perspectives.OpenHousesuggeststhecrossingofthresholdsbetweenpublicandprivate,where
boundariesandbordersaremadepermeable.Itisinthisfluidspacethatcontemporaryart
oftenemerges,outofaneedtobridgethegapsbetweentheexperientialandthepsychological,
andbetweensocialandpoliticalhierarchies.

Focusedonthejourneyofmakingart,ratherthandefiningitsfinaldestination,SB2011studies
theseartisticprocessesandtheirrelationshiptothedailytransactionsthattakeplacebetween
people.Fromtradingobjectstoswappingstories,fromsharingfoodtodressingup,weare
constantlymakingexchangesasindividuals,groups,citiesandnations.OpenHousebrings
togetherartworksthatoffermultipleperspectivesandmyriadcreativeapproachestoquestions
ofhowwemoveacrossborders,seeotherpointsofview,andformconnectionswithothers.

Aitistic Biiectoi Natthew Ngui says As an aitist I have a stiong uesiie to focus this biennale
onartisticprocessandtocommunicatethistoboththeSingaporeanpublicandinternational
visitors.Thisisnotaneasytask,ascontemporaryartistsprocessesaresodiverseandoftennot
immediatelyevident.ThecuratorialteamhaveworkedhardtoarriveattheheartofSB2011
OpenHousebyconnectingtheseartisticprocessestowhatwedoeveryday,suchasworking,
commuting,shopping,andeating,aswellas,obsessiveorrecreationalactivitiesinprivateor
public.Wehaveconsciouslyrelatedtheseprocessestotheurbanspacesinwhichtheytake
placeinSingapore,whichinturnhasshapedthestructureofeachexhibitionvenueandthe
placementofartworks.Workswillbepresentedinwaysthatrelatetotheprivatespaceofthe
home,transactionalspacesinthecityandfinallytoourports,whichprovidethespringboard
forinternationalexchange.Inthisway,ourexhibitionvenueshaveamoredirectconceptualand
foimal link to the aitwoiks

Withthisfocusonartisticprocess,realspacesandpeople,morethanhalfoftheartistswillbe
creatingnewsite-specificcommissionsorpremieres.

VENUES&HIGHLIGHTS

SB2011OpenHouseispresentedacrossfourexhibitionvenues,eachwiththeirownparticular
character,thatdrawuponemblematicspacesinSingapore.
TheSingaporeArtMuseumandSAMat8Q...
TheNationalMuseumofSingapore...
OldKallangAirport...
TwomajornewcommissionsatMarinaBayofferspectacularpublicencounterswhichatthe
sametimeamplifyindividualexperience.

TatzuNishisTheMerlionHotelcontinuestheJapaneseartistsseriesofprivatestructuresbuilt
aroundpublicsculptureandurbanarchitecture.Nishisworkshiftsourrelationshiptopublic
space,offeringnewandintimateperspectivesonfamiliaryetofteninaccessibleurbanicons.For
theBiennale,Nishi,withthesupportoftheSingaporeTourismBoard,willbuildanoperational
luxurioushotelroomenvelopingSingaporesbelovednationalmonument,theMerlion.Oneof
thekeyglobalimagesofSingapore,theMerlionwillnowbeviewedanewbyvisitorsentering
thehotelroomduringtheday,orforthosewhobookearly,spendingthenight.

RafaelLozano-Hemmer,whoiswellknownforhislargescalepublicinteractiveworks,will
createanewlargescaleinstallationforMarinaBay,intheheartofdowntownSingapore.Using
smartphonetechnology,visitorstotheinstallationwillbeabletomodulateaseriesofrobotic
searchlightsthatformacanopyoflightbeamsoverthebaybyusingonlythepoweroftheirown
voice.

DirectoroftheSingaporeArtMuseum,MrTanBoon Bui saiu The thiiu euition of the

SingaporeBiennalehasasignificantAsianfocuspresentedwithinaninternationalframework.
MatthewNguiasthefirstSingaporeanArtisticDirectorplaysacrucialroleinthisfromthe
titleOpenHouse,whichstemsfromtheSingaporeantraditionofopeningoneshometoone
anotheronfestiveoccasions,toopeningupcreativespaceswithintheSingaporeanlandscape
forartistsfromallovertheworldtodrawinspirationfrom,creatingworksthatreflectourlives,
andthefabricandsoulofthecity.AsSingaporesmuseumthatpromotescontemporaryartand
cultureoftheregion,SAMisexcitedtoworkwithMatthewandhiscuratorialteamtorealiseour
twinmissionsofmakingtheBiennaleadistinctiveinternationalvisualartexhibitionthatis
ielevant anu will iesonate with people in Singapoie anu fiom all ovei the woilu

Intheworldsbusiestport,amulticulturalcitybuiltontradeandcommerce,OpenHouseplugs
Singaporeintothelatestdevelopmentsincontemporaryvisualculturearoundtheworld.

LISTOFSB2011ARTISTS
*INDICATESNEWORCOMMISSIONEDWORK
29 Rafael
Lozano-
Hemmer
*
Male 1967 Mexico Montreal
38 Tatzu
Nishi*
Male 1960 Japan Berlin/
Tokyo

INFORMATIONANDBIOSONSELECTEDARTISTS
MARINABAY
RafaelLozano-Hemmer
Born1967,MexicoCity,Mexico;livesandworksinMontreal

RafaelLozano-Hemmerisanartistwhodevelopsinteractiveinstallationsattheintersectionof
architectureandperformanceart.Hisworkstaketheformofkineticsculpture,responsive
environments,videoinstallationandphotography,withacentralinterestincreatingplatforms
forpublicparticipation.Whileoftenspectacularinscale,hisworksalwaysmaintainalevelof
intimacyandindividualagency.

ForSB2011,Lozano-Hemmerwillcreateanewlarge-scalelightinstallationforMarinaBay.
Usingsmartphonetechnology,visitorswillbeabletopersonallymodulateaseriesof
searchlightsthatformacanopyoflightbeamsoverthebay,usingtheindividualcharacteristic
orpoweroftheirownvoice.

Bio:SoloexhibitionsandprojectsthroughoutNorthAmerica,Europe,JapanandAustralia,and
theMexicanPavilionattheVeniceBiennale(2007);GroupexhibitionsincludetheBiennaleof
Sydney(2006);Pre-Emptive,KunsthalleBern(2006);ShanghaiBiennale(2004);Liverpool
Biennial(2002);IstanbulBiennial(2001);HavanaBiennial(2000).

TatzuNishi
Born1960,Nagoya,Japan;livesandworksinBerlinandTokyo

TatzuNishiusesscaleanddistanceinhisinstallationstoproposefreshperspectivesonwhat
mightbetakenforgrantedorotherwiseseemordinary.Hisbest-knownprojectshaveinvolved
thebuildingofroomsaroundpublicmonumentsorarchitecturalelements.Theresultistwo-
fold:ononehand,aninstantsculptureappearsinaprivatespace,andontheother,thatsame
piecedisappearsfromthepublicsphere.Withintheroom,thisdramaticshiftfrompublicto
privatecreatesanencounterwiththesculpturethatisbothfascinatinganduncanny;thereis
egalitarianisminNishisdesiretoexposearttoall.

TheMerlionHotel,NishisprojectforSB2011,comprisesaluxurioushotelroombuiltaround
Singaporesnationalmonument,theMerlion,offeringaudiencesanentirelynewrelationshipto
thisgloballyrecognisedsymbol.

Bio:SoloexhibitionsandprojectsinTokyo,LosAngeles,Dublin,BaselandSydney;Group
exhibitionsincludeTwistandShout,BangkokArtandCulturalCentre(2009);ScapeBiennial,
Christchurch(2008);Ecstasy,MoCA,LosAngeles(2005);ProjektMigration,Klnischer
Kunstverein,Cologne(2005);YokohamaTriennial(2005);SevilleBiennial(2004);Liverpool
Biennial(2002).

ABOUTTHEEXHIBITIONVENUES
MARINABAY
MarinaBaywasformedthroughlarge-scalelandreclamationprojectsthatbeganinthe1970s.
IttransformedthemouthoftheSingaporeRiverintoanurbanamphitheatre,creatingthe
centreofthecitysfinancialandculturalprecinctsandasiteformajoreventsincludingNational
DayandNewYearcelebrationsandtheFormula1SingaporeGrandPrix.SincetheMarina
Barragewascompletedin2008,MarinaBayhasfunctionedasafreshwaterreservoir,an
importantcomponentofthecitysself-sufficiencyprogram.Itsconstantlytransforming
landscapeissymbolicofSingaporesurbanplanningandhopesforthefuture.

SINGAPOREBIENNALEFACTSHEET
1.Numberofworks: Over150

2.Numberofartists: 63

3.Geographicaldistribution(artistslivingandworkingin)

Asia: 27(43%)
(SoutheastAsia,China,
Japan,Korea,India,Pakistan)
Europe: 17(27%)
NorthAmerica: 10(16%)
Australia&NewZealand: 5(14%)
MiddleEast: 3(5%)
Africa: 1(1%)

4.Numberofcountries/regions: 30

5.Numberofcommissionedartists: 34artists(54%)

6.Genderdistribution: 50male,20female
(inclusiveofindividualartists
incollectives)

7.Numberofvenues: 4

8.Numberofartistspervenue
SingaporeArtMuseum/: 15
SAMat8Q
NationalMuseumofSingapore: 18
OldKallangAirport: 28
MarinaBay: 2

x TheSingaporeBiennale,establishedin2006,isSingapores most internationally

significantcontemporaryarteventandthelargestcontemporaryartexhibitionin
SouthEastAsia.InitiatedbytheNationalArtsCouncil,the2011editionisorganisedbythe
SingaporeArtMuseum.

x TheSingaporeBiennalehasalwaysworkedwithsignificantsitesinSingapore,exploring
theuseofdifferentvenuesinSingapore.SB2011isnodifferent,presentedatthehistoric
KallangAirport,Singaporesfirstcivilairport,aswellastheSingaporeArtMuseum,the
NationalMuseumofSingapore,andMarinaBay.

x TheBiennaledemonstratesthediversityofcontemporaryartpracticefromaroundthe
world.In2011,OpenHousewillfeaturetheworkof63artistsfrom30countries,with
aroundhalffromAsia,particularlySouthEastAsia.
x TheBiennalehasconsistentlyshowcasedtheworkofSingaporeanartists,placingtheir
workwithinaninternationalcontext.ForOpenHouse,9ofthe63artistsinthe
exhibitionarefromSingapore,thelargestproportiontodate,withmostpresenting
worksnewlycommissionedfortheBiennale.

x ThecommissioningofnewworkshasbeenasignificantcomponentofeachBiennale.For
OpenHouse,overhalfoftheartistsarepresentingnewcommissions.Anumberofthese
worksaredevelopedinSingapore,workingwithlocalcommunitiesandrespondingto
specificsites.

x AspartoftheBiennaleslong-termcommitmenttodevelopingandengaginglocal
audiences,anumberofpublicandeducationprogrammeshavebeendeveloped.Self
Portrait Uur Landscape isamajordrawingandanimationprojectdevelopedbyArtistic
DirectorMatthewNguitoinvolveover3,000childrenfrom47localprimaryandsecondary
schoolsintheBiennale.ThefinalresultwillbepresentedasamajordisplayattheOld
KallangAirport.

7 responses
Summary See complete responses
Respondant info
Your name
ong kian peng Alvin Tan Teresa Almeida Kelvin Tan Ryf Zaini david chew andreas
Your appointment/ position/ title/ job description
part time lecturer, new media artist Artistic Director Lecturer part time lecturer and artist Educator, Practicing Visual
Artist curator educator
Your institution/ organisation/ collective
lasalle college of the arts, pmp collective, independent The Necessary Stage LASALLE College of the Arts LASALLE College of the
Arts LASALLE college of the arts, DMR SAM lasalle
Theme and concept
1a. For Nishi's "Merlion Hotel", how relevant do you think that the concept of the artwork is to the theme "Open House", that
suggests the crossing of thresholds between public and private, where boundaries and borders are made permeable?
Not relevant Very relevant
1 - Not relevant 0 0%
2 1 14%
3 0 0%
4 5 71%
5 - Very relevant 1 14%
1b. For Lozano-Hemmer's light installation, how relevant do you think that the concept of the artwork is to the theme "Open
House", that suggests the crossing of thresholds between public and private, where boundaries and borders are made
permeable?
Not relevant Very relevant
1 - Not relevant 0 0%
2 2 29%
3 4 57%
4 1 14%
5 - Very relevant 0 0%
Comments
while lozano's work might be relational and participatory, I don't really see how it fits into the idea of "open house". Conceptually, both projects'
interactive element seems inclusive enough to enable the crossing of thresholds between public and private. We have to see how the public relates
to them. Not a fan of the Biennale.
2a. For Nishi's "Merlion Hotel", how true do you think it is to the statement "Two major new commissions at Marina Bay
offer spectacular public encounters which at the same time amplify individual experience.
Not relevant Very relevant
1 - Not relevant 1 14%
2 2 29%
3 3 43%
4 1 14%
5 - Very relevant 0 0%
2b. For Lozano-Hemmer's light installation, how true do you think it is to the statement "Two major new commissions at
Marina Bay offer spectacular public encounters which at the same time amplify individual experience.
Not relevant Very relevant
1 - Not relevant 0 0%
2 2 29%
3 2 29%
4 1 14%
5 - Very relevant 2 29%
Comments
no comments The element of class may not have been factored in.
Appeal
3a. For Nishi's "The Merlion Hotel", how would you rate its originality? i.e. it is something new, not familiar, not done before.
Commonplace and overdone ideaFresh and original idea
1 - Commonplace and overdone idea 0 0%
2 1 14%
3 1 14%
4 5 71%
5 - Fresh and original idea 0 0%
3b. For Lozano-Hemmer's light installation, how would you rate its originality? i.e. it is something new, not familiar, not done
before
Commonplace and overdone ideaFresh and original idea
1 - Commonplace and overdone idea 0 0%
2 1 14%
3 3 43%
4 3 43%
5 - Fresh and original idea 0 0%
Comments
To be honest, i think Lozano is suffering from the " the more famous i get, the louder it must get " syndrome. - personal opinion
4a. For Nishi's "Merlion Hotel", how would you rate its currency, i.e. acceptance, validity and circulation?
Avant garde/ esotericWidely accepted
1 - Avant garde/ esoteric 0 0%
2 1 14%
3 2 29%
4 1 14%
5 - Widely accepted 3 43%
4b. For Lozano-Hemmer's light installation, how would you rate its currency, i.e. acceptance, validity and circulation?
Avant garde/ esotericWidely accepted
1 - Avant garde/ esoteric 0 0%
2 0 0%
3 3 43%
4 1 14%
5 - Widely accepted 3 43%
Comments
no comments Very mainstream appeal
5a. For Nishi's "The Merlion Hotel", do you think that the artwork would appeal more to foreigners or locals?
Locals 0 0%
Foreigners 2 29%
Both equally 5 71%
People may select more than one checkbox, so
percentages may add up to more than 100%.
5b. For Lozano-Hemmer's light installation, do you think that the artwork would appeal more to foreigners or locals?
Locals 1 14%
Foreigners 1 14%
Both equally 5 71%
People may select more than one checkbox, so
percentages may add up to more than 100%.
Comments
it's a bit more challenging for the local art audience
6a. For Nishi's "Merlion Hotel", how would you rate its level of engagement with the audience, i.e. attractiveness and
appeal?
1 - Disengaging 0 0%
2 0 0%
3 2 29%
4 4 57%
Disengaging Very engaging
4 4 57%
5 - Very engaging 1 14%
6b. For Lozano-Hemmer's light installation, how would you rate its level of engagement with the audience, i.e. attractiveness
and appeal?
Disengaging Very engaging
1 - Disengaging 0 0%
2 0 0%
3 2 29%
4 4 57%
5 - Very engaging 1 14%
Comments
This work is visually very powerful and it brings attention upon the area and the work itself just with the lights itself. Also, the attractive factor also
goes out to non art audiences.
Venue
7a. The two artworks are considered large scale artworks. Marina Bay is the latest large scale urban project in Singapore
(reservoir, integrated resorts, financial centre, National Day venue, F1 Grand Prix). Do you think that there is a good match
of artworks to the choice of site?
Not at all Very much so
1 - Not at all 0 0%
2 3 43%
3 1 14%
4 2 29%
5 - Very much so 1 14%
7b. Do you think Marina Bay could see more than two artworks?
Yes 5 71%
No 2 29%
People may select more than one checkbox, so
percentages may add up to more than 100%.
Comments
definitely. Not a big fan of Marina Bay.
Artist
8a. Do you think Tatzu Nishi is an appropriate choice of artist for this particular commission?
8a. Do you think Tatzu Nishi is an appropriate choice of artist for this particular commission?
Many other better choicesHis previous works make him the perfect candidate
1 -Many other better choices 1 14%
2 0 0%
3 1 14%
4 4 57%
5 -His previous works make him the perfect candidate 1 14%
8b. Do you think Lozano-Hemmer is an appropriate choice of artist for this particular commission?
Many other better choicesHis previous works make him the perfect candidate
1 -Many other better choices 1 14%
2 0 0%
3 2 29%
4 3 43%
5 -His previous works make him the perfect candidate 1 14%
Comments
Lozano is famed for his relational architecture works but it does not really touch on "personal" or "private" spaces. Nishi's idea has been
attempted many times before. Treatment of light is quite interesting for Lozano's artwork.
9. Lozano-Hemmer and Nishi are world renowned artists. The artworks at Marina Bay are one of the highlights of the
Biennale and have received the most media coverage. Do you think that Singaporean artists currently have the capacity to
create such comparable artworks (E.g. the ability to conceptualize and execute such artworks)?
Yes 4 57%
No 3 43%
People may select more than one checkbox, so
percentages may add up to more than 100%.
Comments
but its very political and choosing big names is like spending a bigger budget on advertising. If given sufficient support and trust. Definitely
yes. local talents are always sidelined by foreign talent. Merlion was a Originally design by a foreign talent and so was the merlion sculpture at
Sentosa, by an australian artist. Even the NDP planning was done by foreign agency.
Interactive element
10a. For "The Merlion Hotel", do you think that the impact of the artwork would be lessened if it were not interactive, i.e. the
audience merely has to observe?
Yes 7 100%
No 0 0%
10b. For Lozano-Hemmer's light installation, do you think that the impact of the artwork would be lessened if it were not
interactive, i.e. the audience merely has to observe?
Yes 6 86%
No 1 14%
Comments
I haven't seen Lozano's work in person but i imagine that if a hundred people were to try to call and affect the motion of the lights, it's not going to be
very obvious or have an immediate feedback. Similarly it's hard for audiences to connect such large scale lighting to the interaction. But the lights in
itself have great impact. Interactivity immerses the viewers to be part of the work. It involves them and when they are involved, a part of
their experience is greatly etched and remembered.
11. Do you think that there should be more interactive works featured in future Biennales?
Yes 7 100%
No 0 0%
People may select more than one checkbox, so
percentages may add up to more than 100%.
Comments
Yes definitely. Unfortunately it is still rather difficult for new media works to be shown in Singapore. If one were to notice, there have been new
media and interactive works since the first biennale ( eg, carsten nicolai ) . But only big names have been invited. So the question that pops out of my
head is " Can new media works exist without an accompanying big name ? "
Effectiveness
12a. Which aspects of "The Merlion Hotel" do you find most interesting or impactful?
The shift of perspective in looking at the merlion and challenging our cultural icon. Encapsulating the Merlion and having people interact with it in
a new way. The mix of material and pop cultures Visually appealing The idea where you are able to have an icon watch you in your
hotel. that people can stay in it and be a part of the artwork. transformation of the merlion into a decorative element of a hotel room, staying over
night
12b. Which aspects of Lozano-Hemmer's light installation do you find most interesting or impactful?
The light pollution How a personal thing such as one's voice can activate searchlights over the bay allows us to experience power. That it
embodies the audience As above Using mobile devices that are readily available to activate the work. Almost everyone has the ability to
interfere and interact with the work. the scale of the work sounds created through interaction
13a. For "The Merlion Hotel", what improvements or modifications (if any) would you make to the artwork if given the choice?
nothing i can think of None. none The Merlion is not a good choice icon of Singapore. Too obvious. Would not use it and pick more
sophisticated icons. It sprouts water and fills up a tub in the bathroom for showering. Having complete privacy with the icon. Its something that can
only be done behind closed doors. - none
only be done behind closed doors. - none
13b. For Lozano-Hemmer's light installation, what improvements or modifications (if any) would you make to the artwork if given the choice?
I actually find Ashok Sukumaran's Park view hotel to be alot more relevant to the theme, to be honest. http://0ut.in/parkviewhotel/ fyi Ashok
Sukumaran was in the first biennale if im not wrong. I would definitely improve on it, but I have no idea offhand on how i can achieve that. And (my
feeling) is that Lozano himself had problems trying to effectively communicate that. None. none None. Quite an interesting treatment of light.
Icons that project to the sky, aka batman symbol. But animated. gives the pilots something amusing to work with. - none
Socio-cultural relevance
14a. What socio-cultural relevance, if any, do you read from "The Merlion Hotel"? Do you think the artwork is trying to say something, i.e.
making some statement on culture?
I cannot answer this until see the work in person. It's not the artwork saying something. It's the interaction between the artwork and the audience.
Each person would have a different experience and we would need to find out from each participant to describe his/her experience to determine
what is the socio-cultural relevance. It's a dialogic outcome. as above Nothing. The whole artwork is superficial to me. Basically, i can do this,
and they allow me to do this, so why not ? Actually, its the idea of relocation of a familiar place to somewhere less ordinary. A unique place where its
built t ...
14b. What socio-cultural relevance, if any, do you read from Lozano-Hemmer's light installation? Do you think the artwork is trying to say
something, i.e. making some statement on culture?
I cannot answer this until see the work in person. See response above. as above There could be some socio-cultural relevance although it is
not obvious. The artwork may work on the level of perception or consciousness. The abstraction leaves room for interpretation. Lozano-Hemmer
always has a strong personal vision which I respect. His works are showy but often has a deeper purpose behind it. In this sense, it is more
sophisticated than The Merlion Hotel. To be able to CONTROL such devices and manipulate them. - participatory art, art doesnt have to be
just a one-way communication, making visibl ...
Others
Any other thoughts
Local artists should also have a chance to express their thoughts or ideas through an open call. Wonderful conceptual and participatory pieces,
appropriate for the third edition of the Singapore Biennale especially with its Open House theme. Apt and relevant. -
Number of daily responses