CONFABULATION (June 2010)

JUNE 2010 / 1
6 Handy Road, #01-01 The Luxe Singapore 229234. T: +65 6337 6810 F: +65 6337 2234 E: mktg@yisulang.com
2 / CONFABULATION Tue to Sun - 11am to 7pm / Mon & Public Holidays - Close JUNE 2010 / 3
4 / CONFABULATION JUNE 2010 / 5
CONTENTS
14 COMING UP 18 SPOTLIGHT
Dealer in Focus – Y2ARTS
Mundane Ecstasy: A showcase of paintings
by P. Perumal
BREAKTHROUGH 2010
Singapore Art Society 60th Anniversary cum

Launching of Artists Directory
20 FEATURES
Choo Keng Kwang: Peace, Love and Hope
Parody of Impermanence: A Duet Exhibition

of Art by Richard Chen & M. Siva
Han Shunli
Realism in Asian Art

26 SITE SPECIFIC
Jin Young Jhong
Lower Depths – 61 Kerbau Road
Shoah
Understanding Singapore Cinema by Asian

Film Archive
Treasury of the World
Justin Lin - Cartographein Cerebrum (or, how

I’d like to walk around in your mind to find
the things we forgot)
Masterpiece in Motion (SDT)

CONTENTS
20. 22. 31. 36.
38. 41. 46.
28 REVIEWS
Staging Narratives: The work of five emerging fine
64 DIRECTORIES
Singapore Art Guide / For Tourists /
art photographers Malaysia Art Guide
A Review on the Preliminary Round of Theatre Idol
by Action Theatre
Looking for Fairness in an Unfair World — A piece of
writing reflecting on Red Ballerina, a work-in-progress
presented by Theatreworks Singapore
68 CREATIVE RESOURCES
Artists Studios / Art Classes / Framing Services /
Masquerade Lifestyle / Photography / Transportation
Past, From the Present Tense: IMPRINTS
The Street Has No Name
70 POSTSCRIPT
MIYABI
How to behave like a tortured artist
48 THE INTERVIEW
PROJECT
Ketna Patel
59 SINGAPORE
ART MAP

Issue #6 (May 2010)
ISSN 1793-9739 / MICA (P) 183/02/2010
www.confabmag.com
Cover
Choo Keng Kwang
Editor-in-chief // Sabrina Sit / s@confabmag.com

Art Director // Amalina MN / a@confabmag.com
Photography Director // Michael Tan (Ambious Studio)
Account Executive // Kayla Hoo / k@confabmag.com
Contributors // Ivy Choo / Yvonne Low / Richard Chua / Syed Muhd Hafiz /
Melanie Chua / Dr Alka Pande
Site Specific artist // Jin Young Jhong
General enquiries and feedback // _@confabmag.com

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COMING UP COMING UP
This exhibition will showcase a treasured collection of paintings Considered one of the top 100 artists at the end of twentieth
by P. Perumal, a much-appreciated contemporary master of century, Han Shunli was conferred the title of National First
South India. Perumal, a winner of the Indian National Award, Grade Artist in 1988. He is Chairman of the Tibet Autonomous
is well-known for his portrayals of rural wedding ceremonies, Region Federation of Literature and Art Circles, and of the
of classic village festivals (such as bull-fights) and of families Tibetan Artists Association; President of the Tibetan Painting
engaging in agricultural labour. and Calligraphy College; and a member of the China Art and
Literature Union. His solo exhibition is presented by Yisulang
and will span over two months.
Mundane Ecstasy: A showcase Han Shunli

of paintings by P. Perumal 08.06.10 – 25.07.10 / The Luxe Art Museum /
03.06.10 – 16.06.10 / Gnani Arts Space / www.yisulang.com
www.gnaniarts.com
Jointly organised by The National Art Gallery, Singapore and

fill your walls, an art gallery dedicated to promoting affordable the National Museum of Contemporary Art, Korea, Realism in
art by local emerging artists presents “BREAKTHROUGH Asian Art explores the impact of Realism in the development
2010”, an annual group exhibition that aims to develop new of 20th century Asian art.
audiences for emerging local artists through its gallery space
Unlike the way the Realist movement evolved in 19th century
and online web portal.
Europe, Realism in Asia applied the same concepts to a
different context - expressing Asia’s grapple with modernity,
A selection of 20 to 30 artists will be short-listed for the independence and nationhood. The powerful images
prize and included in an exhibition at fill your walls with an produced during this period often inspired and incited action,
accompanying catalogue and high profile opening function and were even at times, suppressed and banned. Through
- during which time the winner will be announced. Esteemed the display of a select group of paintings from ten Asian
BREAKTHROUGH 2010 artist, curator, and Dean of Fine Arts at LASALLE College Realism in Asian Art countries, Realism in Asian Art examines how this important
of Arts – Milenko Prvacki – will select the winning entry for 09.04.10 – 04.07.10 / Singapore Art Museum / art movement touched Asia, weaving together a fascinating
03.06.10 – 19.06.10 / fill your walls / tale of heroism, valour and hope, in a time of turmoil that
BREAKTHROUGH 2010 at fill your walls. S$8 (ex. SISTIC fees) /
www.fill-your-walls.com plagued Asia during the 20th century.
www.singaporeartmuseum.sg
This show is a special research exhibition by the National Art
Gallery, Singapore, held on the premises of the Singapore Art
Museum.
Singapore Art Society 60th The Singapore Art Society celebrates its 60th Anniversary at
Anniversary cum Launching Ngee Ann Cultural Centre on 97 Tank Road. The event will be Image credit: Alfredo Manrique (Philippines) Karampot (Meager) c1978
Oil on Canvas 59.5 x 102 cm National Heritage Board Collection
of Artists Directory officially opened on the 5th of June at 3.30pm by Mr. Lui Tuck
05.06.10 – 07.06.10 / Ngee Ann Cultural Centre Yew, Acting Minister of Information, Communication & the Arts.
This is an opportunity to see the works by many members of
the Society over the two day period. In this highly unique performance, TheatreStrays, a new
physical theatre group led by The Substation Associate Artist
Elizabeth de Roza, explores the plight of Singapore’s poor and
This will be a duet exhibition of paintings by China-born marginalized through the lens of Maxim Gorky’s classic play,
Richard Chen and India-born M. Siva. The enthralling “The Lower Depths”.
collection suggests issues such as impermanence, sin,
heaven and hallucination. Reframed in a Singaporean context, this site-responsive,
physically devised work – also produced by The Substation’s
Associate Director Audrey Wong – will take place at Maya
Dance Theatre’s shophouse on 61 Kerbau Road.
Lower Depths – 61 Kerbau Road

09.06.10 – 12.06.10 / 61 Kerbau Road (premises
of Maya Dance Theatre) / S$25 /
Parody of Impermanence: A Duet www.substation.org
Exhibition of Art by Richard Chen
& M. Siva
04.06.10 – 18.06.10 / The Gallery of Gnani Arts /
www.gnaniarts.com

COMING UP COMING UP
Join curator Nicola Kuok as she ventures into the magnificent Justin Lin Dongrui (b. 1989) studied art at the Anglo-Chinese
world of the Great Mughal empire. Learn about the artistic School (Independent) under the Integrated Program and
and technical finesse of Indian craftsmen in the 16th – 18th has received a scholarship from the Ministry of Education
centuries and their legendary patrons, the Mughal emperors. as a Fine Arts Teacher. He completed an internship with the
Singapore Tyler Print Institute in 2007 and has participated in a
number of group shows including Pameran Poskad at House,
Dempsey Hill (2008), 1st Small Sculpture Show at Sculpture
Square (2009), and The Alfresco Art Fair at Clifford Square
(2009). . Lin’s debut solo exhibition features meticulously
hand engraved acrylic installations. Each work is composed
Justin Lin - Cartographein of several acrylic sheets stacked together and installed as
Shoah a multi-layered image, constructing an illusion of depth and
11.06.10 (Part I) – 12.06.10 (Part II & III) / National Cerebrum (or, how I’d like to
walk around in your mind to spatial form through the use of judiciously applied linear mark
Museum of Singapore / S$8 (ex. SISTIC fees) /
find the things we forgot) making. The works deal with human perceptions of space: how
www.acm.org.sg
24.06.10 – 10.07.10 / fill your walls we associate abstract thoughts with physical places and in
www.fill-your-walls.com what way these thoughts affect our interactions.
Understanding Singapore Learn about the origins of Singapore Cinema and how it was
Cinema by Asian Film Archive revived in the last 20 years after a decline in the 1970s. Tan
Bee Thiam, film curator and executive director of Asian Film Masterpiece in Motion features SDT’s premiere of Serenade by
19.06.10 / Esplanade Rehearsal Studio / $15
Archive will discuss the development of cinema in Singapore George Balanchine, and a new work by Australian choreographer,
www.sistic.com.sg
and examine its national identity. What are the artistic and Adrian Burnett as well as A Million Kisses to my Skin by David
cultural achievements of key Singapore filmmakers? Relating Dawson.
these to our present day, what is the relevance of national
cinema in an increasingly cosmopolitan and globalised Serenade was the first ballet that Balanchine choreographed
society? Come and experience an opportunity to discover the when he arrived in the United States. Premiered by the School
value of Singapore’s film heritage. of American Ballet in June 1934, Serenade, set to music by
Tchaikovsky, is now a staple within the repertoire of many
companies around the world such as San Francisco Ballet, The
Royal Ballet, Bolshoi Ballet etc.
Masterpiece in Motion (SDT)
Join curator Nicola Kuok as she ventures into the magnificent Created by David Dawson for Het Nationale Ballet (Dutch
25.06.10 – 26.07.10 / Esplanade Theatre /
world of the Great Mughal empire. Learn about the artistic National Ballet), A Million Kisses to my Skin is a post-classical
S$90, S$70, S$50
and technical finesse of Indian craftsmen in the 16th – 18th dance work that visualizes the baroque style patterns of Bach’s
www.sistic.com.sg
centuries and their legendary patrons, the Mughal emperors. Piano Concerto No 1. Extravagant and free-flowing movements
constantly emerge and dissolve across the stage, displaying a
virtuosic vocabulary that is elegant and refined.
Stating his inspiration for the new piece, Burnett says, “This work
is the gathering of several impulses inspired by Osvaldo Golijov’s
exhilarating music and the inner voices that inspire his musical
Treasury of the World thoughts. I wanted to choreograph a work that translated these
22.06.10 / Asian Civilisations Museum / S$12 / abstract musical ideas into visual imagery.”
www.acm.org.sg
It is an evening of masterpieces by these great choreographs in
motion that is not to be missed!

DEALER IN FOCUS SPOTLIGHT
Y2ARTS
The date 17th of April was an important one imprinted with the infamous political slogan
for young Chinese contemporary artist Liu popularized during the Cultural Revolution,
Gang as it was his debut show in Singapore. ‘为人民服务’ (Serve the People). The iconic
Held at Y2ARTS (MICA building), the symbols contrast with the recurring images
showroom displayed a series of hyper- of the masculine handgrip in Liu Gang’s
realistic close ups of semi-clad (or unclad, works, sending strong messages of self-
if you would like it) male bodies. The event determination and overcoming socio-
opening was an equally important one for culture differences.
the dealers at Y2ARTS although not for
same reasons that a commercial art gallery However, this is not an exhibition opening
might have and this may include whether and the event is not held at a run-of-the-mill
the collectors might take to the introduction art gallery. This event was staged to introduce
of the new find well or if sales for the show the artist to gallery directors and instead of
would be brisk. fussing over the number of red dots on the
walls, the dealers at Y2ARTS prefer to be
The presence of the artist who flew in from signing contracts for representation of their
China and the sound of chatter drifting artists with the galleries. At the event, the
over glasses of wine made the event look gallery directors are given the opportunity
very much like a regular exhibition opening to experience first hand how the exhibition
reception. Among the crowd of avid art turnout might be and find out how well the
lovers and collectors were sculptor Michael collectors take to the artist.
Ong, previous Curator of Art with the
National Museum of Singapore Choy Weng Liu Gang is just one of the eleven Chinese
Yang and Director of Singapore Art Museum contemporary artists being represented by
Tan Boon Hui. Any gallery director would Y2ARTS and the list of artists is growing.
be happy. The philosophy behind the company is
simple. They handle the time-consuming
The exhibition starts near the entrance process of going through mountains of
with Kindred Spirit Series — 2008 (2008), portfolios and make numerous trips overseas
to eventually pick out only the best young
where the heavy interlocking metal chains talents. These artists are then served up on
that were corroded criss-crossed over the a sliver platter to the galleries and from this
bodies of three men to form the shape of part of the process on, galleries will have
a star, bringing to mind the national flag of absolute sole representation of the artist
the People’s Republic of China. In Kindred of their choice. Judging by the success of
Spirit Series — Serve the People (2008), the event, galleries will be tripping over
stands three men with one slinging the themselves to sign artists with Y2ARTS. //
iconic camouflage green messenger bag

CHOO KENG KWANG FEATURE
Choo Keng
Kwang:
Peace, Love
and Hope
Text: Ivy Choo
Image: Rearngsak Boonyavanishkul


Choo Keng Kwang (born 1931, As an artist, Choo is widely recognised with the image of the dove as a traditional
Singapore) is one of Singapore’s most as one of Singapore’s first generation and living symbol of peace, hope, love,
eminent and beloved painters. Best artists, along with his contemporaries purity and unity.
known for his paintings of doves as like Georgette Chen and Liu Kang. His
symbols of peace and his enormously artworks have been commissioned by Choo Keng Kwang painted a voluminous
popular Chinatown scenes, Choo is an royalty, dignitaries and governments. number of works on Chinatown from the
anchor figure within the oil painting Choo is also popularly known as the early 1970s right through to the late 1980s
tradition in Singapore. A highly Painter of Doves and Pigeons. He has before extensive urban conservation and
accomplished painter, a committed since the 1980s produced hundreds redevelopment altered these sites. He also
educationist, a generous donor and of paintings and sketches of these painted scenes of the Singapore River with
supporter of social charities, the artist birds. Choo’s early pigeon works were its bumboats and warehouses, as the Chinese
was awarded the Public Service Medal tentative and exploratory. Before long, Wayang staged beside the Singapore River.
in 1976 and numerous distinguished he developed his own distinctive style These paintings established him as one of
awards and mentions throughout his and approach, and soon established a the nation’s most endeared oil painters of
career. His works have been sold at firm reputation and following for his oil varnishing scenes in the city.
auction houses such as Christie’s compositions of these birds.
International and Sotheby’s. Choo perceived certain local activities
Choo began to rear pigeons and doves at and architecture as facing serious threat
As a public-spirited person and his residence and studios, spending many from processes of urbanization and
philanthropist, Choo is greatly involved hours studying their anatomy, habits, modernization. Street barbers, smoked
in community and charity work. movements and eccentricities. His doves duck sellers, lantern makers, meat, fruit
Choo’s images of Chinatown have and pigeons soar freely in secluded, and vegetable hawkers, clog vendors
been reproduced on national stamps protected and open areas - roosting in were fluidly captured in sketches and
and released as first day covers for a cliffs or tall trees. In these paintings, his later immortalized in oil in his Chinatown
fund-raising project in 1989 as well birds would descend as in a spectacular series. Choo’s paintings conveyed the
as on phone cards to raise funds for vision, amidst swirling mists, to nest in bustle and commotion of these pockets of
the Chinese Development Assistance foliage. activities, with Samsui women, trishaw
Council (CDAC). The sales proceeds riders and bird-vendors milling with each
of his paintings were contributed to St. The artist made clear that his paintings other. Glimpses of landmarks (temples,
Andrew’s Mission Hospital, Touch were not just documentations or mosques, or Chinese opera houses) and
Community and the President’s Star anatomical studies of the species, but were weathered buildings with their clothes-
Charity Show. idealized portraits that carried powerful lines hung out from their windows also
symbolic values. Choo was fascinated appear in his paintings. //

REVIEW REVIEW
Staging Narratives: CHARACTERS

The work of five emerging fine In Traded, Jasper Yu speaks up for
art photographers vanishing trades in Singapore. The
Text: Yvonne Low ‘push-cart’ trades, once a ubiquitous
sight, have now been pushed to the
Image: Respective photographers
periphery of a rapidly industrializing
nation. Jasper’s character bends
over his workstation, coaxing a piece
of metal expertly into shape; it is 12
Staging Narratives explores the works of five emerging fine art photographers and discusses the noon and unbearably hot but in his
use of rhetorical devices and story-telling techniques in the recounting of a visual narrative. Jasper business, staying in sight is the key
Yu, Kong Chong Yew, Cheryl Teo, Guo Yixiu and Hu Qiren employ the techniques of documentary to survival. He waves at his friend,
and conceptual photography in their work, each adopting different approaches for their subject seated at his usual spot beneath a
matter and making no apologies for their honest conceptions. dusty umbrella and awaiting patiently
for the delivery of the day’s evening
papers. Occasionally, a passer-by Traded 2009 9.21 x 6.18 in
A BEGINNING, A MIDDLE AND slows down, scanning the headlines
AN ENDING on sale; some dig for coins while
others continue walking. In Traded,
Kong Chong Yew’s Small things is a Jasper introduces his characters as
quirky compilation of short ‘stories’ simple, down-to-earth everyday folks
that tickles our imagination, teasing making an honest living in Singapore.
us to consider endless possibilities. Is there still room for them in the next
Each individual piece is seemingly the chapter?
beginning of a story, a continuation of
it or an ending. Left behind shows the
lonesome back view of the Merlion A METAPHOR
statue; its gleaming white coat a
stark contrast against the mellow A bowling pin cuts through the surface
grays of the quiet sea and towering of space and holds our gaze
skyscrapers. A fitting ending or a momentarily before plunging into the
perfect beginning? In Stuck, a dog unknown. “Infinite Abyss,” Cheryl Teo
– staring into the distance - stands in muses, “is the magical act of objects
the middle of a park, surrounded by falling through space and time, where
foliage and sheltered by broad trees; there is no start and no end.” Like a
is someone beckoning him? Why child who in the midst of playing has
is he ‘stuck’? Chong Yew captures uncannily discovered the secrets of
shrewdly the unexpected situations life, Infinite Abyss places the viewer in
that one occasionally encounters, the precise moment of that discovery.
unapologetically recounting a tale Cheryl draws a clear analogy between
with vivid imagination while inviting us the mystical beauty of this revelation
to begin, continue or complete it for and the very transience of life. In
ourselves. arrested gaze, we see the objects –
the house, the bowling pin, the chair
and the kettle – at a stand still as if 1. Infinite Abyss, Bowling Pin 2009
defying all concepts of time. Engulfed 2. Infinite Abyss, House 2009
by a swirling force – gravity, perhaps
– the miniature toys learn (as they fall)
the futility of capturing time.
1. Left Behind, from Small Things 2009 16.5 x 23.4 in
2. Stuck, from Small Things 2009 16.5 x 23.4 in

REVIEW REVIEW
AN IRONY A PICTURE
“They were seeking for their Still Life depicts a series of
likeness; it was an illusion. Thus pictures – pictures Hu Qiren hopes
when they finally met, my affections would free his subjects from their
brought death.” glass coffins. Preserved and sold for
medicinal purposes, ‘exotic’ creatures
– Guo Yixiu from lizards to seahorses are common
sights in traditional Chinese medical
Vanitas tracks the premature journeys halls. Such practices have gradually
of three birds crashing to their death lost their foothold in a rapidly
in the face of their own reflections. modernized and westernized society
Dark enticing panes make up the even though the majority of the
façade of the Art, Design and Media Singaporean population is of Chinese
(ADM) building where the incidents descent. Qiren invokes in his subjects
took place; the glass exterior reflects a second lease of life – the seahorse
with deceptive clarity the brightness resting quietly, its head and tail
of the sun, the comfort of the clouds curved inward, its contours forming
and the familiarity of the trees. Like a a beautiful arch and its skeletal 1. Seahorse 2009 23.4 x 16.5 in
mirage clouding the eyes of a thirsty structure a cascading swirl of intricate 2. Lizard 2009 23.4 x 16.5 in
traveler, the cold hard surface shows geometric lines. From this picture, the
a reflection of reality – one that is story of life is narrated, examined and
nothing like reality as the deceived appreciated – and while it is still.
victim soon realizes – crashing into
the unforgiving concrete floor. The
final narrative – 14 images laid out Jasper Yu, Kong Chong Yew, Cheryl
in sequence – was selected for Teo, Guo Yixiu and Hu Qiren are
exhibition. The irony should not be currently second year students
missed; afterall isn’t that too a fitting (photography majors) at NTU School
end to all winning narratives? of Art, Design and Media (ADM).
Their works have been selected for
exhibition at the school’s inaugural
group show entitled, Variegated
Realities, curated by Dr Oh Soon-
Hwa. It was held at The Gallery at
Alliance Française, Singapore, in
February 2010.
Vanitas Series 2009 8 x 10 in

REVIEW REVIEW
A Review on the Preliminary Round Looking for Fairness in an Unfair World

of Theatre Idol by Action Theatre — A piece of writing reflecting on Red
Text: Richard Chua Ballerina, a work-in-progress presented by
Theatreworks Singapore
Text: Richard Chua
When competition comes into the picture, wise, some serving as temporary solutions to
especially in the theatre scene, we will tend to what is going on in the contemporary society.
want to win it. To win anything, pretty much is a Is there a way to reconcile both? Writing a good
numbers game, we will want to secure as many play and yet be able to speak to audiences and
votes as possible, similar to that of a political get their recognition. Yes, it seems. What lies I once asked a Buddhist abbot There is no such thing as a fair review. It is usually written by
election. To secure the votes, we tend to have to within a good play, or a good piece of dramatic a biased individual, based on his/her own aesthetic taste.
deliver what the audience wants. Nothing wrong
why I was like this, so easily
writing, is the playwright’s ability to capture To review Singapore theatre company Theatreworks Artistic
with that. But more often than not, we tend to audience’s imagination in a deeper way. They angered. He said that I needed Director Ong Keng Sen’s newest work-in-progress Red
forget what the audience really needs, not just love it, and yet hate it at the same time, for a to understand that there is no Ballerina as a non-event is in itself an uneventful endeavour.
what they might want. In Action Theatre’s Theatre good play challenges them to face their own fairness in this world. We must For I would be totally missing the point by going on to talk
Idols – a play-writing competition organized by problems, weaknesses and frailties. somehow find fairness in an unfair about the execution of the work by actors Karen Tan and
Action Theatre, of which I have caught 3 out of 5 Lim Kay Tong. How could I review a work-in-progress? It
plays on competition – the need of the audience, It seems easy to do so. I could write them all
world. Buddhism has taught me was not even complete. Since the performance has been
usually dominated by the middle-class young down in a few paragraphs. But every self- that Man determines the amount presented to an audience, quite many of us actually, not to
professionals, is a good night out and would respecting playwright will know that it is difficult of fairness in the world. The fairest mention a performance run over the next one or two days.
most probably enjoy the spa voucher, more than to achieve what I have just laid out. For they thing we all can do is not to hurt The work did speak to us. To respond to it seems fair.
anything else, given by the sponsor Apsara. As are trapped in the technical aspects of writing,
playwrights, if their intention were to want to win
each other.
where a good piece of writing is determined Labels of “Fairness” and “Unfairness” are just binary points
the competition, they would have to write for by the their ability to have a good main idea, set out to generate discussions, or an academic term
them. Again, nothing wrong. Plays are meant having an opening that captures the audience, - Goh Lay Kuan’s “discourse”, and more so the practice of politics in the
for the audiences anyway. To target a play for a an ending that will leave audiences thinking oral interviews at the Singapore arts scene. For the two are simply referred to (in
specific audience is good discipline and focus, about the play, effectively “showing” the story National Archives of Singapore Chinese Language) as 混沌 , loosely translated as Chaos in
and meaningful. In this case, the possibility of rather than “telling” it, showing a surprise the English Language: natural occurrences in nature. Since
winning a competition looms overhead. element in the story, pacing, arranging,
(NAS) Man cannot control what goes on in nature – especially so
organizing the play in a best order, spending in various phenomenon in the Singapore arts scene – what
The intention is writing for audiences and the right amount of time on each scene, making can he/she control? Singapore eminent and publicly less
wanting to win the competition seems rather it easy for audiences to follow from scene to recognised choreographer Goh Lay Kuan’s words in the
acceptable but to any staunch good drama scene, making sure their voice in the play is above transcript in the National Archives of Singapore
theatre believer, this argument does not seem clear (apparently so, in Edgar Liao’s play Ma seems to provide an answer. Indeed Man can only control
to go down well with them. For they believe Goes Home), making sure that their voices are himself and try not to hurt a fellow Man. It is the fairest thing
that in writing is to expound truth, the deepest strong and honest, writing good dialogues; Man could do. Discourse will only be constructive when
and most profound need of the human-race. keeping in mind the tone, rhythm, syntax and Man is able to control him/herself not to hurt others in the
Lofty ideas, no doubt. Many might dismiss sentence structures, according to the cultural process of dialoguing with others. But in the words of one of
this in a reductive manner saying that serious milieu – keeping to the convention of good play my fellow colleagues in Lasalle College of the Arts, where
drama people are simply taking themselves too writing, the list goes on. But what they seemed I teach part-time, how many people could proceed from
seriously. Chill! They might say. But deep within to have forgotten is the very fundamental “accepting the status-quo” to “be able to transcend it”
both camps, they all long for good drama/ reason why plays are written for audiences in (你虽然能看得破，但有几个人能真正渡得过 ). It seems simple, but
theatre. So what is good drama/theatre? the first place: to address a need, a problem, it is definitely not easy to achieve. Many a times we know
a reflection on what is going on in society, and unfairness in the world; how many of us could really get
Good drama/theatre must speak to the most importantly the human condition. The over it without passion and emotional burdens?
audiences telling them what they need. Deep very simple premise: what is in there for the
within audiences in both camps there is a need to audience, what problem would they expect a To request that people get over things quickly is a tall order.
find some kind of hope, or answers, or whatever solution from the playwright. To the playwright – Realistically we should try to understand how they have
we call them. It likens to finding answers to the why did they write the play they have committed managed to recognise the harsh reality; their attempts in
absurd world around us through situations and to write in the first place? Perhaps, when we wanting to get over them. It is a valuable learning experience.
examples we go through every single day. ponder on these fundamental questions again,
These answers vary at different levels, some answers would be slightly different from those I Indeed Goh Lay Kuan’s journey in the Singapore dance
more intellectual and profound, some street- have highlighted in the first paragraph. // scene seeing the challenges in developing modern dance
in this country in the early years has given her strength,

REVIEW REVIEW
for she needs it in overcoming numerous problems.

Realising that they are not going to go off at all (看得破 ),
she will just have to get life going ( 渡过 ). Red Ballerina
narrates just that. Whether or not Goh Lay Kuan has seen it
all and managed to walk through them is least important,
for she will be the only one with the answer, personally.
The purpose of work-in-progress’ Red Ballerina is to
promote better understanding of Goh Lay Kuan’s arts
practice process. It is also a valuable referencing source
for all arts practitioners in Singapore.
Goh Lay Kuan’s work and achievements are recognised

both in local and international dance communities
alongside husband the late Kuo Pao Kun, whose
recognition in the area of Southeast Asian Chinese
Language theatre by international academics was vast.
They have been held in high esteem. Both of them have
shaped a large part of the Singapore performing arts
and culture. Her life story is indeed a module of its
own that should be studied in all dance schools at a
tertiary level. For the value in this lesson are her beliefs
in the art of dance: art not only in the technical part of
the performing arts form, but the attitude and spiritual
development of a dancer as well. A additional minor
point: to stand strong above the cultural hegemony of
the prominent dance family in Singapore at that time, not
appearing in flashy advertisements that dictated what
dance should be in Singapore, Goh Lay Kuan’s dance
journey was in itself a life test. Despite these problems,
she has emerged an important figure in the Singapore
dance scene.
But not forgetting, together with her, there are others

– Angela Liong (Arts Fission), Lim Fei Shen, late Tony
Llacer, Boon Teo (who taught ECNAD’s Tan Chin Huat),
Ong Lay Kheng (whose work Where 2 Ends Meet saw
local independent dancer Joavien Ng perform), Goh
Soo Khim and late Anthony Then of Singapore Dance
Theatre’s fame, to name a few. As seen, Goh Lay Kuan
was never alone in the Singapore modern dance arts
scene, for there were many who accompanied her in
shaping Singapore modern dance.
Hence the beginning of the process of archiving dance

arts in Singapore starting with Goh Lay Kuan’s story is
apt. For it would open a new page on the necessity of
documenting Singapore dance history, especially for
young dancers in the Singapore scene. In addition,

REVIEW REVIEW
hopefully, it will generate more discourses achieve this proves to be greater, for the country angst – responding to the unfairness in this
in the Singapore dance scene, taking stock does not have a mature people’s culture, as world, much to her detriment, health-wise. But
on how far Singapore modern dance has yet. Nowadays, travelling to New York and the unknowing process of trudging through
come. Theatreworks Artistic Director Ong Spain seems to be natural progression, for to hardships by constantly reflecting upon herself
Keng Sen saw immediate urgency to begin excel in the western modern dance scene is a the purpose of her existence has made her “see
doing this – ironically it should be the task of yardstick in Singapore’s own definition of dance beyond things”(看得破 ). The words of that abbot
the National Archives of Singapore (NAS) – excellence. Goh Lay Kuan consulted – “ We must somehow
setting up a “permanent repository of cultural find fairness in an unfair world.” – rang clear.
legacy that will educate the next generation To acknowledge this stark reality is difficult. What’s fairer than to treat a fellow Man with
of artists and their creations.” (Programme But to let other aspects of dance slide into fairness and love, not hurting him/her? In this,
Sheet, Red Ballerina, 2010). His ability to “go disappearance proves more difficult for nothing matters anymore, for the world has
beyond” (看破) Singapore’s lack of urgency in me to swallow. The second hurdle is the become smaller as she travels, less things are
documenting this part of Singapore performing tedious task of preserving the practice of new, wisdom accumulated. Clearly Goh Lay
arts, and initiating this project studying Goh Applied Dance in Singapore, especially early Kuan has seen it all. Now her challenge lies in
Lay Kuan – and also the work of late Kuo Pao childhood education as well as disability her ability to go beyond it (真正渡得过 ).
Kun – is a significant gesture in recognising dance education. What’s lacking in Singapore
the importance of this task in Singapore. is dancers/choreographers’ passion and Not many people will be able to actually go
Theatreworks has taken the first step. More conviction to want making Singapore society “beyond it”. “Going beyond it” refers to total
should be done to get this project going, not a better place to with it. Goh Lay Kuan’s past freedom. For it would mean even having a
only in the area of preservation but also in work in developing dance for disabled children sense of purpose in life is also not important,
disseminating information to all. Hopefully it will is an exemplary example of an artist wanting to fully embracing the workings of the cosmos and
serve as a reminder to all dancers and dance contribute to his/her society. Her unwavering the universe; my effort in trying to make sense
educators in Singapore that there is more to spirit in wanting to help these underprivileged of Red Ballerina in this piece of writing will also
dance than just a performing arts form. children is commendable. In addition her ability be unnecessary. Every artistic piece of work
to see beyond the fairness and unfairness of requires the passion and conviction of an artist,
For this project will encounter many hurdles. life in all its permutations, and to want to make for the most extreme of emotions within them will
One of them is a general lack of interest in a difference in other people’s lives, making generate the energy required for the art-work to
Singapore dance history, especially among them better, is the true spirit of an artist. But affect an audience/spectator. Goh Lay Kuan’s
young dancers of today. Most young dancers honestly how many dancers in the Singapore state of serenity and quietness did not come
attend dance performances in support of their scene would trudge the ground in this area of through a conscious process of self-cultivation,
teachers as a form of idol worship, rather than work giving up development opportunities in but as an after-thought. This is wisdom
understanding the performing arts form, both the more glamourous area of dance: becoming accompanied by history. So, in the nutshell, it is
in technique and spirit. The internet has given renowned artists and choreographers? This fine to not reach the level of having an absolute
them more information on what it takes to requires great discipline in one’s own self- ability to “look beyond” things, for it will destroy
become an international dancer, enjoying the cultivation: Again, his/her ability to see beyond art, making it ineffective and mundane, an
prestige and fame, rather than a dancer/artist the only one domain in dance development in activity of the normal Man. Constant pursuit in
relating his/her existence with the society and Singapore and to discover other opportunities looking for fairness in an unfair world is the key
the world at large. We don’t see much of the – the preliminary stage of “looking beyond to artistic excellence. It is an extremely difficult
latter in Singapore. In Goh Lay Kuan’s words, things”(看得破 ). journey. For not everybody will end up like the
“to stay rooted in this soil”. To be here requires Buddha, achieving nirvana. //
one to love him/herself as part of the Southeast
Asian performing arts community. We see The ability to look beyond things requires one
strong inclinations towards this value system to exercise compassion and humanitarian
in dancers’ bodies from other Southeast Asian love. Goh Lay Kuan’s heart in the right place.
countries, less so for Singaporean bodies. For She devoted herself to loving those who are
one, Thai dancer Pichet Klunchun is totally in need, to train those who might benefit
rooted in his Thai culture, developing new most from dance, to voicing out an artist’s
dance vocabularies from classical Thai Khon right in freedom of expression. Much of that
dance. In Singapore the challenge in trying to was anchored in anger – or rightfully called

REVIEW REVIEW
Masquerade
24.04.10 – 22.05.10 / Mulan Gallery
Text: Syed Muhd Hafiz
Entering the gallery, one is confronted by portraiture, Shiew Eng highlights the ever-
portraits bathed in saturated colours, staring increasing relevance of this painting genre in
back at the viewer as if goading him/her into contemporary art.
confronting the uncomfortable. The ambiguous
faces seem to be reaching out to the viewer yet Portraiture lessons have always taught students
their eyes suggest a certain restraint, betraying to respect the presence of the individual
the brightly-coloured canvases. Masquerade in every human face. Acknowledging or
is Shiew Eng’s first solo exhibition. Considering respecting the ‘Other’ thus then, has become
that she graduated from NAFA only last year, synonymous with portraiture exercises. Every
this represents a natural progression for the portrait announces the autonomous individual,
young artist. However, what is more intriguing the creation of a demarcated space within the
is to chart the first solo exhibition of a fledgling wider public. However, in Masquerade, Shiew
artist as his/her direction and identity as an Eng has rendered this space neutral and
artist, is often moulded from this initial foray into porous. Who are these ambiguous characters?
the arts industry. Young children at a stage in their lives where
we cannot even be sure of their gender? The
Shiew Eng’s calm demeanour belies her artist has made them accessible without the
impulse to create art that speaks not just to baggage of individuality, history and location.
the converted but also the cynical, through Only their arresting gaze seems to suggest a
her universal subject matter. Following her dialogue that perhaps viewers themselves will
graduation show at NAFA where she showed be hard-pressed to respond to.
a series of photographs concerning identity
and family relations, Masquerade goes slightly Since there is a lack of reference to ‘read’
off the familial trajectory. If there is one thing these human faces (even the saturated colours
that struck the writer, it is the artist’s seemingly seem to distance the viewers further), viewers
nonchalant attitude towards life though I are forced to gaze at them on new terms. Do
am not suggesting that she is apathetic or they see themselves in these faces? Or maybe
disinterested. When asked why she embarked these distant faces are actually sniggering
on this particular series of works, a series of at the viewer beneath their cold and sterile
motivations were laid out: stirring the concept of expressions?
the ‘gaze’, androgyny and its perceived neutral
platform for gender discussions, and children Questions keep reverberating within as one
as ‘objects’. engages with the paintings, traversing the
landscape of identity and the Other. But as all
The nature of the gaze with which one sizes up, hopes diminish, the artist said, “Actually I like
recognizes and comprehends the other person, to paint pretty things.” Yet another trajectory
has been a long-politicised topic. Even more so and yes, the long-suffering viewer embarks
in the current context of porous borders and on another journey. Like the saturated neon
increased mobility, the concept of migrants or lights of advertisement boards, the paintings
foreigners has been hotly-debated issues in here might seem to have promised formulas
some societies. Paranoid xenophobia, terrorism or solutions to the viewers. I went home having
and the upsurge in technological advances more questions but at least it did not burn a
have in one way or another influenced our hole in my pocket. //
‘gaze’ on the other. Perhaps by turning towards

REVIEW REVIEW
Past, From the Present Tense:

IMPRINTS (exhibition review)
06.05.2010 – 11.05.2010 / Red Dot Design Museum
Text: Melanie Chua
Image: Kimberly Shen
EXHIBITION might be too banal a word to iconic bright illustrations, a video projected old
describe the memories spun at Imprints. A childhood photographs spanning 1978 to 1986.
first-time collaboration by Yesterday.sg and Soh acknowledges the imperfection of memory.
Singapore Contemporary Young Artists (SCYA), “The original was supposed to be a series of
Imprints hosted artworks by eight artists, each drawings, which I eventually didn’t use. It was
offered deep alternative insights into a past almost as if I was trivializing history through the
too often dismissed as bland and brief, usually drawings,” Shaun said.
reduced to three key players and three ‘big
moments’1. Alternatively funny and poignant, the sequence
seems a fitting for an educational tour. A couple
The National Heritage Board (NHB) launched of loops later and it becomes a searing peek into
Yesterday.sg in March 2006. Three years later the dark halls of a very personal memory. And
came a revamp, the museum blog evolved to be back at us, old manners and bygone objects
a social media portal, where both contributors cast a silent echo of recurring memories over
and visitors contribute to the archival of history the exhibition.
even as they discover it. Yesterday.sg has since
become a curious synthesis of both art and The kino-eye was also a conspirator in Tay Jiun
heritage, nostalgia and history in a way that the Lin’s collection of history. He photographs a
47-year-old nation has never had, or perhaps handmade quilt, religious artifact, a simple bowl
enjoyed, before. It has amassed a unique of sweet potato congee. These personally relate
collection not to be found in any history book or to his grandmother. However, while the style
official archive. seems starkly straightforward, we are at once
reminded of our ‘not knowing’. Tay explains, “I am
This theme was brought alive at Red Dot Design drawn to the obscure relationship between the
Museum 2. Besides proving memories to be older generation (and ours)… Where everyone
potent sources of inspiration, SCYA artists also seems to be ‘futuristic idealists’, what the past
revealed art to be capable, powerful keepers offers becomes rather ambiguous.” Where do
of history. we come from? Who are we? Who were they? It
takes an unabashed eye to recognize ourselves
The irony of the location was not lost on Angela in simple inanimate objects.
Chong. Researching Red Dot Museum meant
journeying into its colonial past as the old Traffic And ‘ourselves’ is exactly what Hilmi Johandi
Police Headquarters. A haunting projection of remembers in 2nd Hand Tearjeaker. His rich oil
the bars of an old detention cell held vigil before painting of a kopitiam (a traditional breakfast
old documents flat-opened on a table. ‘Dog and coffee shop found in Southeast Asia) scene
Days are Over’ is a succinct pun, alluding to an evokes the emotion of a moment long gone, now
authority inherited, and sometimes contended, treasured and recollected. As poet Cesare
by her generation. Pavese wrote 3 , ‘We do not remember days, we
remember moments’. 1. Angela Chong Dog Days are Over, Site-specific light installation. 2. Soh Ee Shaun 我懷念的, Digital video (Shaun’s father during
Looking back meant also turning another his army days, posing in Taiwan). 3. Tay Jiun Lin Sebastian-Mary That Abundance Photographic ink jet print. 4. Hilmi Johandi 2nd
direction for Soh Ee Shaun. Instead of the usual Where Johandi was lush, personal and fluid, Hand Tearjerker, Oil on watercolour paper 5. Aiman Hakim Misfired, Oil on Canvas 6. Jacqui Rae 3 Sisters, Installation. 7. Kelvin
Atmadibrata Hasil Ulangan, Installation. 6. Jacklyn Soo Moving Homes, Chalk Drawing.

REVIEW REVIEW
Aiman Hakim’s Misfired is a hard, and

determinedly humorous paradox. Kendolls, toy
mind’s eye, but only as imperfect fragments. “I
am constantly pressured and challenged by the
The Street Has No Name
bullets, army uniforms- fragments of his youth construction of buildings and ‘home’.” Nostalgia 13.05.2010 - 11.06.10 / Indigo Blue Art
sit uneasily in military formation- a ‘Senang Diri’ is secondary here to necessity. History informs Text: Dr Alka Pande
most Singaporean males would know, fondly or the future. //
not, but always nostalgically.
Two soldiers stand out in their red caps forming

pillars of tension, while resolutely standing
behind. “Almost trying to be different, yet at
the same time, attempting their very best to
blend in, very much a reflection of how I felt
like growing up,” Hakim says. Catch yourself 1. Sang Nila Utama, Sir Stamford Raffles, Lee Kuan
as you admire the fine precision of his brush- Yew can be seen as the three figures who heralded Singapore’s
progression from quaint fishing village to bustling trade-colony
strokes and be aware; the same organizational (which fell to occupiers in WW2) to aspiring cosmopolitan city-
principle still gathers all in its order, shaping state.
lives and history.
2. Red dot design museum was opened in
Singapore in 2005. This was also when envisioned a vibrant
Jacqui Rae returns to the basic tangible unit of a arts culture for the city-state.
memory. Ceramic bowls hold old contact lens,
strands of hair, petals, and the once ubiquitous 3. His published diaries, 1935 to 1950. The Burning
childhood stalwart, blood red saga seeds. Brand.
Each bowl is laid a respectful distance from the
other, yet forming an intimate whole. Shards of
ceramic separate the viewer from the collected
‘memories’. But are we not all, separated by
different thoughts and strained from different
memories.
Amidst the archived memories, Kelvin

Atmadibrata performs a ‘tea ceremony’ in
homage to the land he has called home for
the past 8 years. Kelvin says he has ‘turned
Singaporean’. “My earliest memory of the country
is its educational system which has replaced
the memory of the school I attended back in
Jakarta”. Examination certificates completely
soaked in a huge jar of tea, Kelvin sits back
with a packet of Mamee (a childhood snack).
Contemplation or irreverence, both signal a bond
branded by experience and time.
Jacklyn Soo holds a collective reminisce in what

seems a childlike arrangement of a heart, but only
at first sight. Chalk drawings hang as scratchy
representations of places and objects, either
demolished, obsolete, or ‘re-zoned’. Soo
suggests the relics of the past live on in the
Sonia Mehra Chawla Crimson Skies No More 1 Mixed media on archival paper 76.2 x 55.88 cm

REVIEW REVIEW
A Street is a paved public throughway in a artists have taken to the street as their Western journey and the art works that have emerged
public environment. It can become a source counterparts have. reflect the energies of the people.
of great performance in an urban context in
particular. However the street because of The Indian streets are abundant with a variety These twin works are very different to any kind
continuous footfalls automatically becomes of traffic. From two wheelers to three wheeler of Street art which is primarily art developed in
a theatrical site. And naturally can be a great auto rickshaws to high end cars, and heavy public spaces and can include art works from
muse for artists in particular. traffic like buses and trucks a stray cow, or an traditional graffiti to public space artwork from
elephant walking majestically on the side is a territorial graffiti, vandalism and corporate art.
It therefore became a natural corollary to then virtual theatre of t he absurd, in stark contrast However there are elements of activism and
look towards the street for conceptualizing an to the organized streets of Singapore or the subversion or urban art, some reclaiming of
exposition where collaborative work primarily organized busy streets of London. the streets, but there is no installing of illicit
with the children of the Salaam Balak Trust and art works in public spaces, which becomes an
visual artists would emerge. I invited 22 artists to work in a collaborative important segment of “Street Art”.
manner with either a child or children from the
The street has always been a playground for Salaam Balak trust to create a set of twin art In 2008 at the Tate Modern in England an
action. In New York the first painter of African works, one by the artists themselves and the exhibition titled Street Art, which included the
descent to become an international Jean Michel other worked upon as a collaboration between works of the street art icon, Banksy brought in
Basquiat started spray painting graffiti in the artist and the street children. international attention to Street Art.
buildings of lower Manhattan using the
signature of SAMO. Basquiat was a rage and The 22 artists through their individual art practice In a parallel genre Street Photography too finds
in 1985 he appeared on the cover of the New have brought in a diverse set of art practices, resonances in public spaces, such as streets,
York Times Magazine in a feature titled “New from murals, drawings, paintings, photography parks, beaches, malls, political conventions,
Art, New Money: the Marketing of an American to video. The engagement between the artist where the techniques of straight photography
Artist.” and the children became a dynamic one. Both almost hold a mirror up to society. Henri
inspired and enabled each other to create a Cartier-Bresson is a name symptomatic with
Banksy a pseudonym for a British graffiti fresh language, which is evidenced the second street photography. The iPhone is the coolest
artist who is believed to be a native of Yale in completed painting. The primary work made tool for capturing the street.
Goucestershire near Bristol But his identity is by the artist and the second painting made by
still not know. His artworks are often satirical the artist and non-artist developed a life and This exhibition however engages with the Street
pieces on politics, ethics or culture. His street language of its own. Often the non-artist led the in a more metaphorical than physical manner.
work combines graffiti writing with a distinct work Here the artists themselves use the street more
stenciling technique similar to the Parisian as a muse as a performative space. //
artists called Bleck Le Rat who belonged to In photography Enrico Fabian and Gabriella
the anarcho punk band Cass. Banksy work Montanari have created a set of works one as
sometimes appears unexpectedly in cities their own and the other a collaborative one, Streets Have No Name will open officially in
across the world. while Roy Sinai has created a more darker Delhi on the 28th and 29th April at India Habitat
reflective set of images in his version of the Centre. The exhibition travels to Indigo Blue Art,
Since the street has always provided so much child and self. Singapore from 13th May to 11th June
color and excitement the inhabitants of the
Salaam Balak Trust were ideal performers in The Street Has No Name was an exciting
this collaborative venture. journey for all of us involved, from the artists, to
the children and for me as the curator and Tanya
What is surprising is that in a street as diverse Alagh the Coordinator of the Salam Balak Trust.
and energetic as the Indian one, not many For the last one year, we have had an incredible

REVIEW REVIEW
MIYABI The aesthetics of the Japanese, nourished

by the country’s lush natural environment,
out that he has assigned the term of ‘head
couture’ to the work that he does. The name
20.05.10 – 10.06.10 / Sunjin Galleries dissolves into nature through a conscious sense embodies the inspiration that emanates from
of harmony that is evident in Japan’s temples, the human head in the form of a sculpture that
shrines and gardens. Born from nature worship, can be worn. And opposed to a masquerade
these aesthetics esteem overall harmony. mask that reveals nothing but only the eyes,
he uses his masks to draw out the parts that
Miyabi, also the title of the exhibition, is a word is not revealed on the outside, but is hidden
in Japanese that expresses the aristocratic by the veil of the skin which he eventually
elegance of Japan from ancient times, an manifests in a 3D form.
elegance that exudes a beauty that makes
one want to see more of its essence modestly The third series of works in the exhibition
enveloped within the veil. are by VIWA where a variety of patterns are
incorporated together on one canvas in order
This exhibition is a myriad of artworks presented to capture a beauty that will stimulate the
by three artists for the future from Japan, each imagination of the viewer and to harmonize all
working in different styles and media. These the various conditions that overlap each other
three very talented artists embrace their own to create a narrative with nature. The patterns
unique sense of aesthetics, a sense that is are taken from decorative arts that have been
graceful, not gaudy, which has resulted from handed down from ancient times in Japan.
the DNA of the Japanese.
Very seldom is one so moved during an
Stepping into the gallery, the pursuit of that exhibition opening reception than to venture
which is beautiful and the concern for aesthetics beyond a comment or two on the artworks or
can be seen in every artwork and it hits you at to make a decision to bring an artwork home.
once. However, as with all good art, there is However, as Ajuko Senga, an audience in the
more than meets the eye at first and there is crowd saw more of the exhibition and Rain in
more to the superficial beauty. And this, only the Distance by Shunsuke Mizuno (Instrument,
reveals itself after you have stayed a while in the 5-string wood bass with wood bass player
exhibition space. Miwa Inaba) started playing in the background,
she broke into a sensual dance around all the
The first series of works that one encounters artworks in the exhibition, piecing one by one
is from Tomoko Taniguchi. Delicate handmade together, incorporating everything that she has
paper still with the raw edges intact and not taken from them and giving everything up again,
cropped away is mounted on painted black only to stop when the music has, 5.23 minutes
canvases. She works wine, black Sumi ink and later. The crowd stood in silence, watching her
acrylic into the washi (the paper) to uncover move around the gallery, feeling a slight chill
the unfathomable bitterness of memories of from the emotions stirring up from the dance
post-Hiroshima period during which she grew and almost in tears.
up, with a mask, to connect with present-day
people and to convey to those generations of Although the dance was not planned for, it
people who came after war the preciousness felt like the exhibition would not have been
of on-going life. complete without it. And by the end of the
night, it was more than a simple encounter with
The second series of works are by Yoichi the artworks. One walks away with a deeper
Ogata. His works of masks, specifically understanding and appreciation of that which
focusing on the area around and above the is Japanese, beyond the commercial attraction
eyes, evokes an organic movement of a living of sushi chains, Uniqlo and Daiso and beyond
organism in the lines that look as if they might the surface kawaii-ness of Hello Kitty. //
be multiplying forever. It is tricky to classify
the medium of his works so it is a relief to find

KETNA PATEL THE INTERVIEW PROJECT
Ketna
Patel
The vibrant collages of Asian icons,
symbols and street images reflecting
the resplendency of Asian life is hard
to miss. Even harder to ignore is the
artist behind them. Ketna Patel reveals
what inspires her to make art and what
makes her tick.

CONFABULATION:You recently ‘Philosophy’ be worth as much or more than

collaborated with international fashion ‘market forces’?
label alldressedup for their Spring/ Who or what has influenced you the
Summer 2010 collection. Tell us more most?
about it.
Anyone who offers ‘original thinking’. The
Ketna Patel: Fashion is self-expression. less conditioned, the better. Thoughts that
The Global shift from the West to the East do not have an ‘educational’ underpinning,
will inevitably herald new directions in how but melded out of keen and authentic
consumer articulation and cultural identity observations of ‘life’, and the human
overlap. For Singapore, this project was condition. One such person is ‘Osho’, also
quite a breakthrough in that it is the first time known as ‘Rajneesh’. Clarissa Pinkola Estes
such a unique ‘rojak’ narrative has been is another one. She is controversial for
transmuted onto fashion. This collective proposing that both assimilation and holding
identity, and its myriad of visual narratives is to ethnic traditions are the ways to contribute
what excited Tina Tan Leo and her husband to creative culture and to a soul-based civility.
Lionel more than three years ago when Everyday people inspire me. I love taking my
they saw my ‘ASIA POP!’ work in a local daily 6 am walks around the Commonwealth
exhibition. HDB estate and running ground, watching
people doing Tai Chi and back-walking
What are you most passionate about exercises, seeing the camaraderie between
right now? all the neighbours as I have my fishball mee
and condensed milk tea.
Life, in all its contemporary, daily bewildering
aspects, is so astonishing, that I end up I care deeply about - Street children, Popular
being either fierce, or merciful, but rarely culture and the contemporary phenomenon
indifferent. So, passion is by default! of New Asia. I feel that when it comes to
‘Capitalism’ as a construct or system is understanding contemporary society, or
showing alarming symptoms of long-term the living system(s) it occupies, the most
damage. Even our journalism seems to be transparent evidence is in the ‘condition
largely market driven. Global Capitalism of street culture’. This is the most un-self
has found a way to commodify identity by conscious expression of a people. Its
enslaving the populous with millions of ever ordinariness cloaks many truths!
shifting configurations of the symbol led
‘requirements’ of this identity. So, perhaps in I have always been interested in
an effort to rescue myself, I am passionate ‘communication devices’ between the ‘first’
about any possible way in which we can and ‘third’ worlds. The mediums of cable TV
hold onto ‘individualism’. Can ‘Art’ and and Hollywood often misrepresent realities
far away, as all these subjective renditions
of how others live is always wrapped up

in their subjectivity. Today, the so-called been successful abroad. Do we not have the
Third World is metamorphosing into a new insight to nurture and celebrate what is right
animal. This New Asia embraces differences under our own noses?
and diversities, challenging often out-dated
attitudes of how we view each other. I wish I could be wilder, more experimental.
By giving birth to an expression, the I wish there was more of a dynamic art
personality and life of the expression community here that could debate and
can live on and converse with other such exchange and argue to provide the
expressions, and take on newer meanings necessary fodder for creative tension,
and forums. Subjects that are hidden can rhetoric, criticism etc. We all live and work
come up to the surface, and we can tweak in our own mental and physical spaces, and
the lenses through which we perceive things. I miss ‘community’. We are not a mature
country as far as art patronage is concerned.
What is your biggest roadblock when it We are a first world country with a second -
comes to working? third world wage structure. Our history has
had to be very practical one as we have had
OK – this is a bit of a winge… to make a transition from kampong to first
I would say my biggest roadblock is to world, cosmopolitan urban slick. The growth
‘ASIA POP!’ kitchen, Jan 2006 Esplanade, Jendela Gallery. ‘Jalan Asia Rickshaw’Nov 2007, Singapore National Museum
have to put inspiration and creativity has not been organic. Art appreciation,
‘Pop Puri Singapura’ Group Exhibition Exhibit of Commisioned by IMG Artists for the Sun Festival.
Now permanent exhibit at the ‘Majestic Hotel’, Chinatown aside for practicality. We all have to do education and patronage have not been
this, but the compromise is getting larger, organic. That now leaves us with a society
as it is a real struggle to be a practicing that is obsessed with status and ‘investment’
artist in Singapore. We lack long term art, and all the symbols that are associated
representation, mature patronage, and an with success. In the process, authentic art
inherent understanding / respect of the making has often fallen by the wayside. We
cultural and social VALUE of Art. seem to have all the sophisticated, flashy
props and theatres to woo the visitors, but
There is a lack of affordable, physical the homegrown art scene definitely needs a
space in which we can explore and make leg up!
work. Too much seems to have a ‘financial’
underpinning. We have to pay ‘market What do you hope to do in the future?
rentals’, and end up having to represent
ourselves in Art Fairs because hardly any A lot of my energy this year is going to go
local galleries are representing local artists. towards making my work ‘travel’ outside of
So the rest of the world seems to use Singapore.
Singapore as a sophisticated supermarket, My project ‘ASIA POP!’ is drawing to an end,
to sell furniture, art, financial instruments, and I am looking to delegate its commercial
etc, but how many ‘Singaporean’ brands are potential onto other people. So if anyone is
leaving this island? It’s not like there isn’t any interested, get in touch!
talent here. There are loads! But we seem
to only validate our own only if they have

The future? I would like to spend more What antagonizes you the most?
time travelling, living in rural communities,
and building bridges between cultures Short sightedness borne out of Self interest,
and geographical zones via new forums. Injustice, unfairness, the great disparity
Himachal Pradesh in India is one such place between rich and poor, Chauvinism,
I hope to explore very soon. To see what Mediocrity, the moving away from ‘natural’
comes out of me when I am in a still, green, to ‘synthetic’, and for us to be duped
cool environment, far away from the white into thinking that it’s actually better! The
noise of city living, at least for a couple of systematic dumbing down of movies (to get
months. The world is morphing so fast…as most profit out of the popular masses), etc
long as we regularly tune into this changing etc. We waste so much. Why do perfectly
world with sensitivity and intelligence, and good buildings have to be torn down to make
then also step away from it for reflection and way for more of the same but smaller and
repose, there will never be a shortage of more expensive? I have a long list, but your
stories to tell. magazine is not going to big enough to go
on!
Does your work fulfill you?
What is your working space like?
Most of the time! I have ants in my pants…a We live and work in two houses; one being
never-ending, obsessive feeling of urgency. the studio and office. There are little garden
A pressing need to document the world, areas everywhere and all the spaces flow
tell stories, before it all starts evaporating from one to another. It’s a very chameleon-
and fading away. I need to record, record, like space, much like me. It changes its
record! That seems to be the instruction personality depending on who or what is in
manual I came to this planet with. With me, the space…
there is no separation between my private
and working life…Somebody wrote this At present, the studio is a bit mad, like me. I
about me recently, and I quote: ”Ketna’s am not very tidy, but it’s organized, rather of a
own cultural background is unsurprisingly colorful chaos… and very cozy! Thousands
schizophrenic, with equal parts of Asia and of photographs, paper, old calendars,
Europe and a childhood in Africa thrown in. paint, glue, brushes, cameras, computers,
She has made a career out of not-belonging: a well-stocked fridge, loads of books is in
as a resident, a frequent tourist, and as a this space. I could easily survive here for
perpetual observer, she distils her travels months without the need to venture out! It’s a
through a soul itself displaced. And there’s perfect nest to come back to after travelling.
nothing clinical or distant about it - this is My studio is my home and I absolutely love it
unmistakably joyous work, by someone here. Please, please do not tear this estate
who loves being in the thick of things; she down. This is the longest I have stayed
Coffee table + Rojak sofa, Aug 2008 Ritz Carlton Hotel Singapore. Stage set commission by The ‘GLOBAL
revels in and often manufactures the chaos”. anywhere I my life. I know every plant,
BRAND FORUM’ featuring ‘Spike Lee (Hollywood), Jimmy Wales (Wikepedia), Joanne Ooi (Shanghai Tang)
Hmmmmm…… every squirrel and every frog that lives in my
garden.

KETNA PATEL
What makes you do what you do? is too late to ‘send it back’. So, often, the
thought or singular stroke grows, layer upon
My art has always contained a consistently layer, into a complex, plural story, with texture
strong narrative of time and place, from and narrative and eventually personality!
Singapore to India, from the countryside I am attracted to whatever it takes to
to the city. I felt compelled to find out who give voice to individuals who have been
I really was and what my opinions were marginalized, or made increasingly invisible.
outside my educated conditioning. But I did They have many stories to tell. I wish to help
not have the confidence to articulate my way in facilitating that story through images and
out of it. I needed to see more, to question words, and then finding a way of making this
more. On a personal level I wanted to move available to many people. //
my thinking from the left side of my brain to
the more creative and emotional right side.
My work not only helps me make sense of the
world, it also helps my audience as we are
all in transition. Over the past decade I have
been changed as a person, my relationship
with the world I occupy has changed as a
result. Many times I only understand aspects
of myself once I catch myself reacting to
situations. I think this has been reflected
in my work and methodology. Increasingly,
my objective is for the artwork to have the
ability to tap into a larger, collective memory
back so that art might help to become an
extension of an individual’s identity honoring
their memory of habitat and space. If I can
do this, then some sort of communication is
taking place.
Explain a formative moment or idea for

you.
To be touched or moved by something I see,

a story I hear, or even a collective societal
plight I feel…This ‘emotion’ builds up, often
unknown to the ‘logical’ me, until it feels
the need to come out somehow. When
the ‘birthing’ is happening, via a sketch, or
painting, or a thought spoken out aloud, it

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DIRECTORIES DIRECTORIES
SINGAPORE ART GUIDE Linda Gallery 15 Dempsey Road #01-08

FOR TOURISTS Art Salon @ Seni www.theartgallerypg.com
8Q sam 8 Queen Street Lukisan 110 Faber Drive Artseni Gallery www.artseni.com
Armenian Church 60 Hill Street
33 Auction www.33auction.com M Gallery 1 Kaki Bukit Road 1 #03-19 CHAI (Instant Cafe House of Arts and Idea) www.instantcafetheatre.com
Battle Box 51 Canning Rise
72-13/TheatreWorks 72-13 Mohamed Sultan Road MAD Museum of Art & Design 333A Orchard Road #03-01 Edi.A Art Gallery www.ediarts.blogspot.com
Buddha Tooth Relic Temple 288 South Bridge Road
2902 Gallery 11 Mount Sophia Block B #B2-09 Marisa Keller 28 Woking Road #03-05 Galeri Chandan www.galerichandan.com
CHIJMES 30 Victoria Street +6336 1818
Alliance Française de Singapour 1 Sarkies Road Masterpiece www.masterpiece-auction.com GALERI PETRONAS www.galeripetronas.com.my
Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556
AndrewShire Gallery 5 Swiss Cottage Estate Mercedes-Benz Center 301 Alexandra Road Galeri Shah Alam www.galerisa.com
Chinese Garden 1 Chinese Garden +65 6261 3632
Antiquaro 19 Tanglin Road #02-42 Metakaos 1 Kaki Bukit Road 1 #03-22 galleriiizu @ Shangri-La Hotel www.galleriiizu.com
Escape Theme Park 1 Pasir Ris Close +65 6581 9112
MINT Museum of Toys 26 Seah Street House of Matahati (HOM) www.matahati.com.my
Asian Civilisations Museum www.acm.org.sg Fort Canning Park 51 Canning Rise +65 6332 1302
Momentous Arts 20 Lor Telok #02-01 Islamic Arts Museum www.iamm.org.my
Aratong Galleries 26 Mount Pleasant Drive Goethe-Institut Singapur 163 Penang Road #05-01
Mulan Gallery 19 Tanglin Road #02-33 Lookiss www.lookissgallery.com
Art Forum 82 Cairnhill Road Haw Par Villa (Tiger Balm Gardens) 262 Pasir Panjang Road +65 6872 2780
Nanyang Academy of Fine Arts 38/80/151 Bencoolen Street Lost Generation Space www.lostgenerationspace.blogspot.com
Art Galleries at NAFA 80 Bencoolen Street Johore Battery Cosford Road +65 6546 9897
National Museum of Singapore 93 Stamford Road Malaysia National Art Gallery www.artgallery.gov.my
Art Glass Solutions 30 Kuo Chuan Avenue Jurong Bird Park 2 Jurong Hill +65 6265 0022
Ngee Ann Cultural Centre 97 Tank Road MERAH: Mansion for Experimentation, Research, Arts and Horticulture
Art Retreat (Wu Guanzhong Gallery) 10 Ubi Crescent #01-45/47 Kranji War Memorial 9 Woodlands Road
Night & Day 139 A/C Selegie Road www.facebook.com/pages/MERAH/148050170487
Art Seasons 7 Kaki Bukit Road 1 #02-12 Lim Bo Seng Memorial Esplanade Park
NTU (School of Art, Design & Media) 81 Nanyang Drive Metro Fine Art www.metro3gallery.com
Art Tree Gallery 333A Orchard Road #04-11 Malay Heritage Centre 85 Sultan Gate +65 6391 0450
NUS Museum 50 Kent Ridge Crescent NN Gallery www.nngallery.com.my
Art-2 Gallery 140 Hill Street #01-03 Malay Village 39 Geylang Serai +65 6748 4700
Ode to Art 252 North Bridge Road #01-36E/F Pace Gallery www.pacegallery.net
artcommune 133 North Bridge Road #02-77 Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036
Opera Gallery 2 Orchard Turn #03-05 Pelita Hati www.pelitahati.com.my
Artesan 793 Bukit Timah Road #02-01 Marina Barrage 8 Marina Gardens Drive +65 6514 5959
Osage 11B Mount Sophia #01-12 Pinkguy Gallery www.pinkguymalaysia.com
Artfolio 328 North Bridge Road #02-25 Marina Bay Sands 10 Bayfront Avenue +65 6688 8868
Peter’s Frames 19 Tanglin Road #02-02 Richard Koh Fine Art www.rkfineart.com
ArtGoGo 402 Orchard Road #02-08 Masjid Sultan Kampong Glam
Peranakan Museum 39 Armenian Street Rimbun Dahan www.rimbundahan.org
ARTSingapore www.artsingapore.net Merlion Park Fullerton
Post Museum 107/109 Rowell Road RougeArt www.rogueart.asia
Mount Faber +65 6270 8855
ArtSpace at Royal Plaza Hotel 25 Scotts Road Public Art Space (Pan Pacific) 7 Raffles Boulevard Shalini Ganendra Fine Art www.shaliniganendra.com
National Archives of Singapore 1 Canning Rise +65 6332 7909
Arty Art Gallery 686A Woodlands Drive 73 #15-52 ReDot 39 Keppel Road #02-06 The Gallery @ Star Hill www.starhillgallery.com
National Library Singapore 100 Victoria Street +65 6332 3255
Aryaseni 10A Bukit Pasoh Red Dot Design Museum 28 Maxwell Road Valentine Willie Fine Art www.vwfa.net
National Parks Board 1800-471 7300
Barrosa Studio 4 Woking Road #01-02 Red Sea 9 Dempsey Road #01-10 Wei-Ling Gallery www.weiling-gallery.com
Night Safari 80 Mandai Lake Road +65 6269 3411
Black Earth Culture Arts Center 352B Joo Chiat Road Renate Kant Studio 8 Shrewsbury Road Y 2 S Art Space www.y2sart.com.my
Parliament House 1 Parliament Place +65 6336 8811
Bhaskar’s Art Academy 19/21 Kerbau Road S.bin Art Plus 140 Hill Street #01-10/11/12 ZINC www.zinc.com.my
Raffles’ Landing Site North bank of the Singapore River
Borobudur www.borobudurauction.com School of the Arts 90 Goodman Road
Reflections at Bukit Chandu 31K Pepys Road +65 6375 2510
Cape of Good Hope 140 Hill Street #01-06 Sculpture Square 155 Middle Road
Resorts World Sentosa 39 Artillery Avenue +65 6577 8888
Changi Museum 1000 Upper Changi Road North Sealey Brandt Photography Studio 1 Westbourne Road #01-02
St. Andrew’s Cathedral 11 Saint Andrew’s Road
Collectors Contemporary 5 Jalan Kilang Barat #01-03 Sinema 11B Mount Sophia #B1-12
Science Centre Singapore / Omni Theatre 15 Science Centre Road +65
COMBINART 27 Woodlands Industrial Park E1 #01-08 Singapore Art Museum 71 Bras Basah Road
6425 2500
d’Art 5 Westbourne Road #02-03 Singapore Art Society 10 Kampong Eunos
Sentosa 1800 736 8672
D’Peak Art Space Kaki Bukit Road 1 #01-07 Singapore Coins and Notes Museum 2 Trengganu Street Level 3
SIA Hop-on +65 9457 2896
DLR Gallery 22 Marshall Road Singapore Contemporary Young Artists www.contemporaryart.sg
Singapore Botanic Gardens 1 Cluny Road +65 6471 7361
Dynasties Antique & Art Gallery 18 Boon Lay Way Singapore Philatelic Museum 23B Coleman Street
Singapore Cable Car +65 6270 8855
DaTang Fine Arts 177 River Valley Road #02-09A Soobin Art International 10 Ubi Crescent #04-90/92/93/95
Singapore City Gallery 45 Maxwell Road +65 6321 8321
Esplanade 1 Esplanade Drive Sotheby’s Institute of Art 82 Telok Ayer Street
Singapore Discovery Centre 510 Upper Jurong Road +65 6792 6188
Eagle’s Eye 39 Stamford Road #01-01 Sun Craft 19 Tanglin Road #02-08
Singapore Expo 1 Expo Drive +65 6403 2160
Echo Art Galerie 19 Tanglin Road #02-59 Sunjin Galleries 43 Jalan Merah Saga #03-62
Singapore Flyer 30 Raffles Avenue +65 6734 8829
TAKSU 43 Jalan Merah Saga #01-72
Emily Hill 11 Upper Wilkie Road Singapore Turf Club 1 Turf Club Avenue +65 6879 1000
Telok Kurau Studios 91 Telok Kurau Lorong J
fill your walls 21 Tanjong Pagar #04-02 Singapore Zoo 80 Mandai Lake Road +65 6269 3411
Tembusu 140 Hill Street #01-05
Fortune Cookie Projects www.fortunecookieprojects.com SKI360° 1206A East Coast Parkway +65 6442 7318
The Art Gallery 1 Nanyang Walk
FOST 65 Kim Yam Road Snow City 21 Jurong Town Hall Road +65 6560 2306
The Arts House 1 Old Parliament Lane
Gajah Gallery 140 Hill Street #01-08 Sri Mariamman Temple 244 South Bridge Road
The Gallery (SMU) 90 Stamford Road
Galerie Belvedere 168 Robinson Road #36-01 Sun Yat Sen Nanyang Memorial Hall 12 Tai Gin Road +65 6256 7377
The Gallery of Gnani Arts One Cuscaden Road #01-05
Galerie Joaquin 1 Cuscaden Road #01-03 Supreme Court 1 Supreme Court Lane +65 6336 0644
The Luxe Art Museum 6 Handy Road #02-01
Galerie Waterton 39 Keppel Road #02-01 Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65 6794 1401
The Peach Tree 129 Tanglin Road
Gallery NaWei 6 Raffles Boulevard Level 4 Taxis
The Picturehouse 2 Handy Road
Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03 - Comfort/YellowTop +65 6552 1111
The Republic Cultural Centre 9 Woodlands Avenue 9
Give Art 65 Spottiswoode Park Road - CityCab +65 6552 2222
The Substation 45 Armenian Street
Gnani Arts Space 190 Middle Road #02-30/31 - Premier +65 732 2516
Third Floor – Hermès 541 Orchard Road
HaKaren 19 Tanglin Road #02-43 - Smart +65 6485 7777
Utterly Art 229A South Bridge Road 2nd Level
- Tibs +65 6555 8888
Heng Artland 290 Orchard Road #04-08 Valentine Willie Fine Art 39 Keppel Road #02-04
- Transcab +65 6555 3333
Indigo Blue Art 33 Neil Road Victoria Theatre & Concert Hall 11 Empress Place
Thian Hock Keng Temple 158 Telok Ayer Street
Impress Galleries 1 Kim Seng Promenade VITRIA 17 Chee Hoon Avenue
Touristline 1800 736 2000
INSTINC 12 Eu Tong Sen Street Xuanhua 70 Bussorah Street
Underwater World 80 Siloso Road +65 6275 0030
iPRECIATION 1 Fullerton Square #01-08 Y2ARTS 140 Hill Street #01-02
War Memorial Park Bras Basah Road & Beach Road intersection
Jalan Bahar Clay Studios 97L Lorong Tawas Yang Gallery 19 Tanglin Road #02-41
JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2 Yisulang 6 Handy Road #01-01
Jeremy Ramsey Fine Art 16 Bukit Pasoh Road Your MOTHER gallery 91A Hindoo Road MALAYSIA ART GUIDE
Kelly Reedy - Studio Arts 27 Woking Road #01-01 +Wondermilk Art Gallery www.theclickproject.com
Ketna Patel 35 Jalan Puteh Jerneh 12 (Art Space Gallery) www.12as12.com
Kwan Hua 19 Tanglin Road #02-09
LIFESTYLE A2 Gallery www.a2artgallery.com
Lai Chan 1 Beach Road #02-10
La Libreria 50 Kent Ridge Crescent Level 3 Annexe Gallery www.annexegallery.com
STYLE: NORDIC 39 Ann Siang Road
Larasati www.larasati.com Art Case Galleries www.artcase.com.my
Papa Palheta 140 Bukit Timah Road
LASALLE 1 McNally Street Art Expo Malaysia www.artexpomalaysia.com
Li Fine Art 19 Tanglin Road #03-32 Art House Gallery www.arthousegallery.biz
Little Red Shop www.littleredshop.org Art Loft www.artloftgallery.net

LISTINGS LISTINGS
Galleries Venues / Associations / Groups Conservation and Restoration

Cape of Good Hope Gnani Arts Space Benaka Art Conservation
Sunjin Galleries Private Ltd
140 Hill Street 43 Jalan Merah Saga 190 Middle Road
#01-06 MICA Building #02-30/31, Fortune Centre 64 Taman Warna
#03-62 Work Loft @ Chip Bee Singapore 276386
Singapore 179369 Singapore 278115 Singapore 188979.
+65 6733 3822 +65 6339 1230 +65 9105 4377 / +65 6100 2707
+65 6738 2317 www.benakaartconservation.com
www.capeofgoodhopeartgallery.com www.gnaniarts.com
www.sunjingalleries.com.sg
DaTang Fine Arts Singapore The Gallery of Gnani Arts

The Luxe Art Museum
177 River Valley Road, 1 Cuscaden Road
6 Handy Road
Liang Court , #02-09A #01-05 The Regent
#02-01 The Luxe
Singapore 179030 Singapore 249715
Singapore 229234
+65 9846 2098 / +65 9721 3718 +65 6725 3112
+65 6338 2234
www.9911art.com www.gnaniarts.com
www.thelam.sg
fill your walls Xuanhua Art Gallery

21 Tanjong Pagar Road 70 Bussorah Street
#04-02 Singapore 199483
Singapore 088444 +65 6392 2556
+65 6222 1667 www.xuanhuaart.com Art Services
www.fill-your-walls.com Ray’s Transport & Services
Artwork Installation &
Delivery Services
Galerie Joaquin Yisulang Art Gallery All other Art related services
1 Cuscaden Road 6 Handy Road +65 91522511
#01-03 The Regent Hotel #01-01 The Luxe artswithray@gmail.com
+65 6725 3113 +65 63376810
www.galeriejoaquin.com www.yisulang.com Artists’ Studios
Chieu Sheuy Fook Studio
Framers Studio 102
Impress Galleries 91 Lorong J
1 Kim Seng Promenade Impress Galleries
429 East Coast Road Telok Kurau Road
#02-07/08 Great World City Dealers / Consultants Singapore 429016 Singapore 425985
Singapore 237994 +65 96690589
+65 67362966 +65 64404533
Y2ARTS www.impressgalleries.com chieusf@gmail.com
www.impressgalleries.com 140 Hill Street
#01-02 MICA Building
Singapore 179369 Ketna Patel
Lukisan Art Gallery +65 6336 8683 35 Jalan Puteh Jerneh
110 Faber Drive www.y2arts.com Peter’s Frames Chip Bee Gardens, Holland Village
Singapore 129421 19 Tanglin Road #02-02 Singapore 278057
+65 6774 1609 Tanglin Shopping Centre +65 6479 3736
www.lukisan-art.com Singapore 247909 www.ketnapatel.com
+65 6737 9110
petersframes@hotmail.com
Auctioneers
Koeh Sia Yong 许锡勇
Mulan Gallery 10 Kampong Eunos
19 Tanglin Road Black Earth Auction
367 Joo Chiat Road Singapore 417774
#02-33 Tanglin Shopping Centre +65 9671 2940
+65 6738 0810 +65 6346 3767 Antiquities and Furniture www.yessy.com/koehsiayong
www.blackearth.com.sg www.koehsiayong.artfederations.com
www.mulangallery.com.sg
Antiquaro
19 Tanglin Road, #02-42 Tanglin
Shopping Centre
S.Bin Art Plus Singapore 247909
140 Hill Street MICA Building +65 6737 4822
#01-10/11/12 www.antiquaro.com
Singapore 179369
+65 6883 2001
www.sbinartplus.com

C
CM
MY
CY
CMY

POSTSCRIPT
How to behave Jirapat Tatsanasomboon

like a tortured
artist:
1.
As a tortured artist, you
need a signature look so that
people can easily pick you
out from the exhibition opening party
crowd. It could be a dramatic hair
color (keep the hair messy) and a
generous amount of eye make up.
2. 3.
Hide away from
Act like people
the crowd but
don’t ‘get’ you and
make sure that
do not accept any
people can still see you
compliments people give
looking forlorn, sullen and
you on your art. Reply along
cynical.
the lines of ‘You’re missing
the point’, ‘It’s a horrible
interpretation of how I feel’ or
‘You don’t even understand’.
4.
Look through
the list of signs
and symptoms of
psychotic diseases and
personality disorders and
pick 3 that you think you
can pull off. This could be
attempts at suicide, severe
mood swings and feelings
of victimization.
Captain America vs Mari, Acrylic on Canvas, 100 x 100cm
*5.
Watch the series of Saw
movies for inspiration. Severed
limbs and overdose of black
and crimson red paint in your artworks is
recommended.
*optional for painters.

MULAN GALLERY
19 Tanglin Road #02-33 Tanglin Shopping Centre Singapore 247909
70 / CONFABULATION T: (65) 6738 0810 | E: enquiry@mulangallery.com.sg | www.mulangallery.com.sg
JUNE 2010 / 71
72 / CONFABULATION

CONFABULATION (June 2010)

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CONFABULATION (June 2010)

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JUNE 2010 / 1

Singapore Art Society 60th Anniversary cum

Parody of Impermanence: A Duet Exhibition

Realism in Asian Art

Lower Depths – 61 Kerbau Road

Understanding Singapore Cinema by Asian

Treasury of the World

Justin Lin - Cartographein Cerebrum (or, how

6 / CONFABULATION JUNE 2010 / 7

20. 22. 31. 36.

38. 41. 46.

How to behave like a tortured artist

8 / CONFABULATION JUNE 2010 / 9

Editor-in-chief // Sabrina Sit / s@confabmag.com

General enquiries and feedback // _@confabmag.com

CONFABULATION PRIVATE LIMITED (200906126N)

Printed in Singapore by International Press Softcom Limited.

10 / CONFABULATION JUNE 2010 / 11

To accompany your daily dose of caffeine, browsing copies are

For the environmentally-conscious, the PDF format of

Subscription price is SGD98 within Singapore and USD98

12 / CONFABULATION JUNE 2010 / 13

Mundane Ecstasy: A showcase Han Shunli

Jointly organised by The National Art Gallery, Singapore and

Lower Depths – 61 Kerbau Road

14 / CONFABULATION JUNE 2010 / 15

16 / CONFABULATION JUNE 2010 / 17

18 / CONFABULATION JUNE 2010 / 19

20 / CONFABULATION JUNE 2010 / 21

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Staging Narratives: CHARACTERS

28 / CONFABULATION JUNE 2010 / 29

Vanitas Series 2009 8 x 10 in

30 / CONFABULATION JUNE 2010 / 31

A Review on the Preliminary Round Looking for Fairness in an Unfair World

32 / CONFABULATION JUNE 2010 / 33

for she needs it in overcoming numerous problems.

Goh Lay Kuan’s work and achievements are recognised

But not forgetting, together with her, there are others

Hence the beginning of the process of archiving dance

34 / CONFABULATION JUNE 2010 / 35

36 / CONFABULATION JUNE 2010 / 37

38 / CONFABULATION JUNE 2010 / 39

Past, From the Present Tense:

40 / CONFABULATION JUNE 2010 / 41

Aiman Hakim’s Misfired is a hard, and

Two soldiers stand out in their red caps forming

Amidst the archived memories, Kelvin

Jacklyn Soo holds a collective reminisce in what

42 / CONFABULATION JUNE 2010 / 43

44 / CONFABULATION JUNE 2010 / 45

MIYABI The aesthetics of the Japanese, nourished

46 / CONFABULATION JUNE 2010 / 47

48 / CONFABULATION JUNE 2010 / 49

CONFABULATION:You recently ‘Philosophy’ be worth as much or more than

50 / CONFABULATION JUNE 2010 / 51

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54 / CONFABULATION JUNE 2010 / 55

Explain a formative moment or idea for

To be touched or moved by something I see,

56 / CONFABULATION JUNE 2010 / 57

O D Royal Park Hotel

CAVE NAG H ROA