The Pocket Arts Guide (July Issue)

POP AND CONTEMPORARY FINE ART
Burton Morris - Chanel Green
FEATURED ARTISTS:
ANDY WARHOL DAMIEN HIRST KEITH HARING YAYOI KUSAMA BURTON MORRIS TAKASHI MURAKAMI ROBERT LONGO ROY LICHTENSTEIN
390 Orchard Road, Palais Renaissance 03-12 Singapore 238871 Tel: +65 6735 0959 Hours: TUE - Sat 11:30 - 6:30 Sun12:00 - 5:00
www.popandcontemporaryart.com
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Contents
22 24
14 In the Frame
Hwang Sae Jin Fabric of Life
22 Feature
28
Jason Lim Duet and Still/ Life in Poland
24 story 28 Glimpse
Enter the Auteurs
The Thirteenth Sign and masks of god
34 Art Lands
Indonesia Light of the Shadows
JULY 2011 / 3
Contents
40
7 Art Wire 40 Market Voices

49
Galleries updates and events
Connoisseurs passion for art pays off Chan Hampe in Hong Kong.
44 48 space
Touched by the hand of God
49Art Hong Kong 2011

Cash of the Titans
54 48
54 Perspectives 59 Map 64 Directory Listing

Art of the Sale Art Galleries in Singapore
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ditors
ISSN 2010-4375 / MICA (P) 252/09/2010
letter
Editor-in-Chief
Remo Notarianni
remo@thepocketartsguide.com
Dear Readers, As expected, there is still a lot of coverage of Art HK (11) in the July issue of The Pocket Arts Guide (TPAG). It is not that our publication hasnt got over it. It is a time for reflection, following an event that is said to epitomise an eastward shift in the market. But it is also important to look closely at the debates surrounding it, not to mention the hype. The corporate efficiency of a venue that is mainly used to business expos was dream-like in the way it showcased mirages of creative talent. If you didnt know it was him, one could have easily looked at Takashi Murakami, who was seen walking around the booths, and said: That man looks exactly like Takashi Murakami. He must be a fan. Art fairs, with families and children meandering around contemporary oddities, sometimes resemble Disneylands with art deco TVs and flies in resin. If they do become more popular and art becomes better understood by everyone, could that be a vision of the future? The business somehow highlights just how surreal the idea of money is. This issue thematically links in many ways. In the Frame is about Korean artist Hwang Sae Jin who explores material desire and the truth in floral beauty. Theres a strange carnival going on Art Lands looks at Indonesias Wayangs or puppet theatres. There are some stunning masks from LAs Petra Gallery that mix the cosmic with comic book heroism. Theres much to enjoy in this issue and with some great artistic value for all.
Art Director
Melvin Ho
melvinho@thepocketartsguide.com
Contributors Nick Walker, Daniela Beltrani, Bharti Lalwani Advertising Sales sales@ thepocketartsguide. com General enquiries and feedback mktg@ thepocketartsguide. com Submission of press releases pr@ thepocketartsguide. com
On the Cover
Remo Notarianni Editor-in-Chief
Hwang Sae Jin (Korea): Together but Different Dream, 2008. Acrylic on Canvas with fabric. 130 X 97cm
JULY 2011 / 5
New Look
The Pocket Arts Guide
August 2011
Published monthly, complimentary copies of TPAG are available at several places in Singapore, Hong Kong and the United Kingdom. SINGAPORE: Copies are distributed at the Singapore Art Museum (SAM), Singapore Tourism Boards Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Art Trove. Pop & Contemporary, Bruno Art and Indigo Blue Art) HONG KONG: TPAG is widely distributed in Hong Kong and can be found in popular restaurants, bars, cafes and major art venues. Among other places, complimentary copies are available at the Fringe Club, Post-97, Club 71, the Dharma Den and the Bookshop at the Hong Kong Arts Centre. It is also distributed in a wide range of galleries. Browsing copies are available at branches of Uncle Russ Coffee. THE UNITED KINGDOM: TPAG is available at select cafes and art venues around the UK and complimentary copies can be found in major galleries, including the Alan Cristea Gallery, in London. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader. Subscription price is SGD48 within Singapore and USD40 internationally. For subscriptions, renewals and address changes, please email mktg@thepocketartsguide.com.
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All advertising bookings and materials for TPAG should be received by 21th each month. Printed in Singapore by International Press Softcom Limited. Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 20109739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches. The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.
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PR ES S R EL E AS E
art wire
Exhibition runs from
16 th June 21 s t July 2011

Opening Reception 16 th June, Thursday, 7 to 9 pm presents Collectors Contemporary
the second instalment of Pop! an exhibition that celebrates a highly influential genre. Pop!Pop! is a pop superstar showcase that includes Japanese sensation Takashi Murakami as well as Pop pioneer Andy Warhol. The exhibition also includes Cake & Neave, and Static.
POP! POP!
16.06.11 21.07.11
Collectors Contemporary
By presenting a selection of Pop artists, in such an engaging way, the exhibition looks at Pop Art from its origins to its present-day relevance; and this helps one to understand that it remains significant as mass production continues to rule our lives. Collectors Contemporary
5 Jalan Kilang Barat (off Jalan Bukit Merah) #01-03 Petro Centre Singapore 159349 The art movement that started Nearest MRT: Redhill Station
in the 1950s, has tak-
www.collectors.com.sg Singapore
en to Saturdays meaning Tuesdays on a new 11am to 7pm with a resurgence that spans closed Sundays, Mondays and public holidays from South America to Korea. In the 21st century, Pop Art has perhaps an even greater relevance.
Collectors Contemporary presents the second installment of the highly successful Pop! an exhibition celebrating a genre that has become a perennial favourite. Together with works by early Pop superstars such as Andy Warhol, Keith Haring and John Baldessari, this showcase also presents works by current sensations Takashi Murakami, Cake & Neave and Static, amongst others. Offering art audiences an exciting opportunity to appreciate its evolution and legacy. The Pop Art movement began in the 50s, reflecting the post-war society fascination with popular culture. It celebrated everyday objects such as soup cans, washing powder, comic strips and soda bottles etc., An open-air sculptural installation transforming the banal into icons that characterized the era.
by leading artist P. Gnana entitled Holy Audience, is being presented As we move into the second decade of the millennia, pop cultureat the Sculpture Society Singapores 10th anniverhas never been more celebrated. A resurgence of this movement can be seen the world over, influencing artists from South America, Europe, say exhibition, Site-Specific Works Sculpture in Southeast Asia, China, Korea and Japan. the Park at Fort Canning Park. The SSS has created its legacy. POP! POP! pays homage to the pioneers of this movement whilst exploring a strong affinity with the environment and its AIR programme showcases a strong connection between art and environmental issues. The event encourages a creative exploration of space. Some of the artists have also managed to make use of the space of Fort Canning Park. This exhibition will showcase an eclectic and diverse collection of work that presents such ideas in a variety of ways. It is a project space open to contingency rather than a traditional gallery exhibition that emphasizes the surroundings as much as it does the art objects.
SITE SPECIFIC WORKSSCULPTURE IN THE PARK

11.06.11 11.09.11
SS Pavilion and Fort Canning Park (Gnani Arts)
www.gnaniarts.com/new/ Singapore
JULY 2011 / 9
ART WIRE
This is a major survey show of work by Chinese artist Ai Wei Wei to be held across both Bell Street spaces, London. The broad selection of key works from the past six years was agreed with the artist. Ai Wei Wei consistently displays great courage in placing himself at risk to affect social change through his art. He serves as an example of free expression and the power of art as a language globally. Highlights of the 13 works in the exhibition include Coloured Vases (2010, 2009), groupings of Han Dynasty pots (from 200DC-220AD) covered in industrial paint. Ais continued desecration of individual vases can be seen as political comment on the organised destruction of cultural and historical values that took place during the Cultural Revolution.
AI WEI WEI
13.05.11 16.07.11
Lisson Gallery
www.lissongallery.com
London
Koru Contemporary Art is presenting internationally acclaimed Italian artist Oriano Gallonis Hong Kong debut. The exhibition will feature a range of Gallonis most recent sculptures and paintings. Galloni combines the traditional marble carving techniques of his birthplace with contemporary sculpting materials and abstract forms. Continuing his exploration of the soul, Galloni incorporates his signature renaissance-esque iconography into new, more experimental situations. His pieces The Man #2, (2006) and Silent Soul/Autunno, (2006) depict his figures encased in aluminium and marble. The pieces also recall words by Italian sculptor Michelangelo Buonarroti: I saw the angel in the marble and carved until I set him free. No longer trapped within marble but still not yet free, these works are in a perpetual state of transition and flux.
ORIANO GALLONI SILENT SOUL

17.06.11 25.08.11
Koru Contemporary Art
www.koru-hk.com
Hong Kong
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The United Artists of Italy are staging an exhibition of portraits of some of the 20th centurys bestknown artists by 22 leading Italian photographers. It is being staged at the Esoterick Collection of Modern Italian Art in London from 21 June to 4 September 2011. The exhibition, comprising around 90 photographs of artists including De Chirico, Fontana and Morandi by such photographers as Mario Giacomelli, Mimmo Jodice and Gianni Berengo Gardin, tells the story of the Italian contemporary art scene from the 1960s. It makes it relevant today. The Estorick Collection of Modern Italian Art opened in London in 1998. Its new home - a Grade II listed Georgian building - was restored with support from the Heritage Lottery Fund and contains six galleries, an art library, cafe and bookshop.
UNITED ARTISTS OF ITALY: A PROJECT BY GALLERIA MASSIMO MININI

06.07.11 04.09.11
Esoterick Collection
www.esoterickcollection.com
London
The larger than life paintings in Baa Baa Black Sheep by Zak Yeo depict character driven narratives, drawing from the artists acutely personal memories. Through the jovial referencing of comic strips and inspired by traditional Chinese Ink paintings, poster art, and western art history, Zak engages the viewer with his observations of the world as a strange contradictory place. The exhibition offers different perspectives at once. The expected result is the kind of creative ambivalence is confusion but the exhibition proves that contradictions can co-exist, in a humorous harmony that makes the world an interesting place. This exhibition might make you understand the wonders of diversity. It will at least make you realise that contradictions do not always entail conflict.
BAA BAA BLACK SHEEP

13.07.11 29.07.11
Chan Hampe Galleries
www.chanhampegalleries.com
Singapore
JULY 2011 / 11
ART WIRE
We are taught from childhood that it is honorable to fight fair, be it in games, sports, love or business. But life is not fair. Honour often goes out the window in the daily grind to make it. Advantage and advancement over others. In the end, we seek advancement and advantage over others. Another consequence of rapid change is the constant challenge on ones sense of self. To define who we are is a universal human need, but with the benchmarks constantly changing and shifting, were left a little off-kilter.
WHO FIGHTS FAIR?

17.06.11 12.07.11
Karin Weber Gallery
www.karinwebergallery.com
Hong Kong
In this much anticipated third solo exhibition in Hong Kong, Yang Shewei documents these internal struggles in exquisite ink, colour and rice paper creations. Yangs works have even taken up a surreal quality, and it has retained the expressive quality which is his trademark.
Contemporary by Angela Li is proud to present Once Upon a Time, a photography and video exhibition of works by six Chinese Contemporary artists. These lens-based artists explore the notion of truth in our daily encounters by way of using different styles of photography and video. Perhaps the title of this exhibition might hint at being nosy. In describing his perceptions of creativity, artist Liu Zheng said, I have come to feel that reality is the greatest impediment to my creations. We are all audiences in this era, and for audiences like ourselves, our everyday experiences are truths. But truths are either dreary, sapping or saddening. Nosiness has become a method for relieving pressure. These stories seem to no longer bear resemblance to the original events.
ONCE UPON A TIME

16.04.11- 31.07.11
Contemporary by Angela Li
www.cbal.com.hk
Hong Kong
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The Alan Cristea Gallery is staging a major retrospective of Julian Opies editions from 9 June to 9 July to coincide with the publication of an edition Catalogue Raisonn. Julian Opies highly distinctive depictions of the modern world are created in a variety of media. This exhibition will present the most innovative and exciting editions that Opie has produced. It will chart the development of his work from the early very reductive landscapes and portraits, to silhouettes, animations, lenticulars and LED animations. Opie has always strived to break down what he believes to be the illogical barriers set up between painting and design, and sculpture and objects his printmaking and production of editions play a central role in this philosophy with a wide range influences.
JULIAN OPIE EDITIONS RETROSPECTIVE

9.06.11 09.07.11
The Alan Cristea Gallery
www.alancristea.com
London
MAD Museum of Art & Design is proud to present the Singapore debut of Korean artist Lee Kiyoung in a special limited-run exhibition, July 16th Aug 16th. The artists striking centrifugal compositions are compelling on an abstract, formal level, yet they ultimately derive from profound understanding of nature. These black & white images suggesting flowers, starbursts and other organic forms have a contemporary graphic energy, while the nuances of his handfinished surfaces are extraordinarily delicate. Lee Kiyoungs meditative, labor-intensive process is crucial to his idea of art making. He uses traditional materials, Korean paper and Chinese ink, but subjects them to his own innovative method.
BLOOM
16.07.11 16.08.11
MAD Museum of Art and Design
www.madmad.com.sg
Singapore
For Lee Kiyoung, nature teaches him a sense of time. Learning to perceive the incessant passing of time is thoroughly different form becoming conscious of the nervous tick-tock of the clock. It is more like gaining a sense of the time that controls the cycle of life.
JULY 2011 / 13
ART WIRE
An exhibition organised by the Asian Civilisations Museum, Singapore, in partnership with the Shaanxi Provincial Cultural Relics Bureau and the Shaanxi Cultural Heritage Promotion Centre, China showcases thousands of terracotta warriors, buried for over 2,000 years and the Emperor Qin Shihuangs imperial legacy. It shows the fundamental influence of the First Emperor and his dynasty. It offers the chance to marvel at the First Emperors impressive burial complex and his mighty terracotta army.
EXHIBITION TERRACOTTA WARRIORS: THE FIRST EMPEROR AND HIS LEGACY

24 .06.11 16.10.11
Special Exhibitions Gallery, Asian Civilisations Museum
The terracotta army discovery is considered one of the biggest archaeological events of the twentieth century. Recapture the mystery of the warriors how they were discovered, why they were created and what they represented.
www.acm.org.sg
Singapore
Run by Swiss art dealer Frederic De Senarclens, Art Plural Gallery will showcase works by Pablo Picasso, Marc Quinn, Barry Flanagan, and Julian Schnabel to name a few. The exhibition Avant Premier is its inaugural event. Singapore will become the new destination for art collectors in South East Asia and Art Plural Gallery will certainly contribute to Singapores flourishing cultural life, says Frederic De Senarclens. This innovative space will be dedicated to solo and group exhibitions, installations and public art projects.
AVANT PREMIER
03.06.11 03.09.11
Art Plural Gallery
www.artpluralgallery.com
Singapore
The gallery will also have an interesting focus on Design and solo pieces by internationally acclaimed artists such as Ron Arad, Thierry Dreyfus, Karim Rashid and Johanna Grawunder. Art Plural Gallery is about to bring a new experience to the gallery world.
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LA L&M Arts, Los Angeles is presenting recent work by Barbara Kruger. This is the artists first exhibition in her hometown since her solo presentation at the Museum of Contemporary Art, Los Angeles in 1999. The East Gallery will feature the multi-channel video installation The Globe Shrinks, 2010. This work continues Krugers engagement with the kindness and brutality of the everyday, the collision of declaration and doubt, the duet of pictures and words, the resonance of direct address, and the unspoken in every conversation. In the West Gallery, the artist will create a room wrap that visualizes and spacializes her ideas around money, power and desire. On the exterior of the gallery, Kruger will also create a projection using two recent works, You Want it and In Violence, combining images and text that address wanting and needing, winning and losing.
BARBARA KRUGER
14.05.11- 09.07.11
L&M Gallery
www.lmgallery.com
United States (LA)
With They Dont Know Either, Christian Lethert Gallery is presenting Nelleke Beltjens second solo exhibition. Since her first show Fragments of the Parts (2009), the artist has been consistently developing her unusual and idiosyncratic approach to drawing. Added to the abundance of drawing information in the new works of the CLUSTER (colour) series is a highly complicated system of cuts in the paper, perceptible only from up close. They stem from the artists cutting out individual segments from the drawing paper. Another feature of the latest drawings by Nelleke Beltjens is the use of ink pens in assorted colours. Whereas the earlier drawings were mostly rendered in a single colour in black, blue, or green, lately the artist has been using combinations of six and more.
NELLEKE BELTJENS: THEY DONT KNOW EITHER

04.06.11 30.07.2011
Galerie Christian Lethert
www.christianlethert.com
Germany
JULY 2011 / 15
IN THE FRAME
Fabric of Life
HWANG SAE JIN:
IN THE FRAME | Hwang Sae Jin
Text: Remo Notarianni
orean artist Hwang Sae Jins visual feast seems hard to digest at first. Her tightly bunched flowers, clothes and cloth fragments ask to be disentangled, but in the confusion her statement becomes clear. When people see how my work fills the canvas, it has a dizzying effect, said Hwang. It is like a festival of flowers and people might wonder what it is trying to say. There are contrasts in the images. However, the flower is a universal symbol of beauty and a floral cloth is effectively an artificial flower derived from a natural element. This inevitably subjective interpretation of beauty is everywhere in the commercial world. And it is for this reason that I use cloth. Hwangs domestic landscapes seem familiar but they are uniquely feminine and mysterious. Flowers reach through piles of clothing, like greenery breaking through concrete, highlighting the differences between
natural and artificial beauty. And there is a twist when we discover that the flowers are not real. Hwang points to a meandering search for cultural identity, one that echoes a crisis of the modern globalised world. My work has Korean sentiments, said Hwang. I feel comfortable with the images and I want them to show beauty as well as history. Most of the fabric I use is imported from overseas and when the exotic ingredients are combined with the Korean aspects, theres a subtle sense of distance with the viewer. Hwangs collages are an explosion of fashion and manufactured goods. Such domestic scenes make wardrobes into microcosms of consumer desires. And despite the busy overflow, theres an uncertainty with an emptiness that product lines cannot fill. In such floral imagery we can see the artifice of modern civilisation, said Hwang. It is losing the scent of real
In such floral
imagery, we can see the artifice of modern civilization
beauty in a paradoxical way. I think artists need to empathise with different aspects of the modern world. My work expresses the emptiness of excessive consumer desires. My earlier works consisted of interiors with screens and balconies and gardens. Rooms were decorated with carpets and cushions, and floral decorations added an exotic colour. Following that, floral designs defined the series. There are closets packed with clothes, shoes, and handbags. In recent works the viewers are like passers-by trying to substitute modern desires with what they can see in shop windows.
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Previous page: Floral Vertigo III Oil on canvas with fabric 145.5 X 112.1cm 2008 This page: Untitled Acrylic on canvas with fabric 130 X 97cm 2008
JULY 2011 / 19
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The Splendid Outing II Acrylic on Canvas with Fabric 130.3 X 97cm 2008
My work expresses the

emptiness of excessive consumer desires
JULY 2011 / 21
The Devil Wears Flowers Acrylic on canvas with fabric.
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Hwang Sae Jin | IN THE FRAME
They are like the women in Shin Yoon Boks Beauty Lady or Sandro Botticellis Birth of Venus. If misunderstood, they can be made into motifs of a lustful pursuit and these forge the very idea of a womans depth. Hwang includes real consumer items in the art piece. And there is a deception in this that highlights her statement about beauty. The collage invokes a feeling that in itself mimics the ambiguity of the consumer world. There is irony in that it still achieves fine art using the materials it is commenting on. From a distance my work looks like a painting, said Hwang, but almost 90 percent of it is a collage using patterned cloth. I transfer a sketch to tracing paper, after arranging the collage part and adding cloth to it and then finishing it with the acrylic painting to support details of shades. I add realism to the lines by using as many as 300 pieces of clothing for the transition.
I specifically let the audience imagine the sympathy of reality. Material of desires sourced from advertisers and magazines, where current fashion designers, or new products or find the item I want to own, I scrap it and use it for my work. So my room always filled with about 200 copies of the fashion magazines issued in about five years. This search for truth in beauty is at the heart of Hwangs work and her questions are related to the very nature of art itself. There is an exploration for new ideas and aesthetics but the search has underscored the need to understand beauty before we let our desires succumb to it. And after seeing this, we might begin to notice the threads that connect it with truth. My belief is that artists should not be limited to ideas or techniques, and they should be able to show this through their work, said Hwang. These days, the work itself, often only emphasises ideas or
intentions, so we often cannot understand it when we see it without an explanation. We have to find our own identity with originality rather than by following a style and fashion, and we can always convey our own friendly story to the audience. That is a more real picture of beauty in its sincerity and this applies to the beauty of a nation, a person and a natural object.
Hwang Sae Jin was born in Korea in 1982. She graduated with a BFA in Painting from Ewha Womans University, Seoul. She has held countless solo and group exhibitions and won awards such as 2009 9th Songeun Art Award, Songeun Arts & Cultural Foundation.
Hwang Sae Jin is represented by Sunjin Galleries. Contact: 6738 2317. Email: sales@sunjingalleries.com.sg
JULY 2011 / 23
FEATURE
On 27 May 2011, Singaporean artist Jason Lims solo exhibition Duet with Still/Life opened at Galeria Labirynt in Lublin, Poland, where it ran until 12 June. In the quaint gallery space of a 400-year-old building in the heart of Lublins old town, Lims dual artistic practice, sculpture and performance art, combined harmoniously. The exhibition presented a documentation of
selected enactments of Duet, a previous performance, and a reincarnation of Still/Life, a sculptural installation of performative origin. During the installation five black mannequin heads emerged from the walls only to be hidden by colourful threads, relics in performance art jargon, from Lims past versions of Duet. The threads were complemented by a video and four photos documenting
the performance that created each corresponding relic. All photos captured the end of the performance, when the artists own head was covered by the very same thread that he had previously unspooled. Lim gave the relics of his earlier performances a continuity in the new setting, whilst enriching them with a new performance. In fact, on the opening night, in the cosy basement
Duet and Still/Life in Poland

Jason Lim
Text and images: Daniela Beltrani
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of the gallery, Lim graced a curious audience with the same action, carried out with a golden thread, which befitted the colours of the space. He unspooled this in a corner on a pile of raw clay on the cotto floor. In the artists intention Duet represents a collaboration with the material for the transfer of his own energy to the object over which the thread is unspooled. In this arrangement, Lim interconnects with different ends of time. The repetition of the action rendered tangible the notion of time in its three forms: the present was slowed down so as to be captured through consciousness; the past was embodied in the consumed thread and the future in the expectations of the gesture. Moving onto Still/Life, the original idea behind it was tested during the exhibition The Air Conditioned Recession: A Singapore Survey, organised by Valentine Willie Fine Art, in Singapore in August 2009: three large unfired vessels were placed in individual tanks and with the added water they deteriorated. The idea behind Still/Life is an exploration which ends with nothing but raw material, a sort of reverse artwork of a performative nature or perhaps a challenge to the traditional idea of artwork. The artists deus ex
Opposite page: Jason in front of the relic of Duet, Sweden 2010 This page (left and right): Duet, Sweden, 2010 Still/Life, Poland, 2011
machina, namely the addition of water during the opening in front of an audience, oxymoronically gave life to an assemblage of pots, whilst ambitiously expanding the still life genre, typical of painting, to sculpture. Lim repeated this during the Singapore Art Exhibition at the Singapore Art Museum, in August 2009, and the 1st Jakarta Contemporary Ceramics Biennale, in December 2009. The fourth incarnation of Still/Life took place in Poland, but explored a different modality from that of previous ones. The tank had a dramatic vertical elevation, more apt to containing snake-like works inspired by the grass of the Polish fields, than pots. During the opening, after the Duet performance, the artist added water and initiated a similar
process to that of the previous Still/Life. But in the densely packed and confined space, the concentrated waterfall affected the clay quickly enough to reduce its dramatic effect. For those present at the opening, perhaps the experience unfolded slow enough to absorb them, but subsequent visitors were faced with a desolate landscape, where movement was infinitesimally small and the time/space presence broken down to unsustainably slow levels. The day after the exhibition closed, during the taking down phase, the tank was emptied and its contents discarded unceremoniously: a harsh reminder that art is after all intangible experience. It is not embodied in a physical object but lives on in the memory of those who experience it.
JULY 2011 / 25
STORY
ENTER
Lawrence Gray
Andrew Ng (left) and Aaron Palermo (right) in Brobots (2009)
W
Andrew Ng in The Pizza Monk (2010)
hen Hong Kong screen legend Bruce Lee kicked together cinematic classics in the seventies, some saw it as a battle for better dubbing, better acting and perhaps better production standards. Yet, the raw charm of films like Fists of Fury (1971) became a celluloid testament to the citys can-do clout. They still managed to make an impression globally without
26 / TPAG
the
Simon Yin
AUTEURS
Simon Yins Supercapitalist (2011)
Hollywood budgets. And as the industry looks for ways to kick-ass in the 21st century, the art of filmmaking has won independence regardless. If Lee had worked with the DSLRs of todays digital revolution, he might have got a million web hits for every kung fu kick. Hong Kong-based screenwriter Lawrence Gray has worked in UK prime time television, the Hong Kong
film industry, and Singaporean TV. While engaged by the digital renaissance, Gray bemoans the lack of government support in Hong Kong, which he says was an accomplice in the death of its golden age of filmmaking. The market simply disappeared for the Hong Kong movie in its heyday and its reliance on basic recycled plots with lots of stunts and fight scenes, said Gray. By the
Aaron Palermo in Apartment Lullaby (2007)
JULY 2011 / 27
STORY | Enter the Auteurs
end of the seventies things had changed considerably. In the eighties, only the better Hong Kong films made money, but the investment required for them increased, and you had the rapid decline of the nineties and the complete collapse by the turn of the century. Those who had talent left for the US, but the industry did learn that you have to have training programmes of some sort in order to compete in a very competitive market. And the local industry requires a government that will nurture it. Gray arrived in Hong Kong in 1989 to work on an episode of a popular UK television series. He founded the Hong Kong Writers Circle, and has since made the city a creative base to pitch stories locally and abroad; and he carved out a creative niche while writing film scripts, such as the award-winning Fat Englishman (2006) that still awaits production. In recent years, he has made a personal leap from writer to producer and director. It was when I could afford a professional camera that I
28 / TPAG
realised there was an opportunity, said Gray whose scripts have seen a pixel day with festival shorts such as Joggers (2009) and Gong Neui (2009). Gray also collaborated on shorts like Brobots (2009) and local features such as Aaron Palermos Game On (2011). He has benefited from technology that has empowered writers who are tired of seeing rejected scripts wait lamentably on hard drives. But it is not so much about whether Hong Kong has a film industry but if, regardless of English or Cantonese, it can continue to draw on an independent pool of talent capable of nurturing a Bruce Lee or a Wong Kar Wai. This question is for the city more than the resources and it is one that almost makes the issue of government support irrelevant. There absolutely has to be a spirit of independence in Hong Kong, as the professional industry has moved across the border into China, said Hong Kong-based producer and director Bey Logan. I think, in terms of the digital revolution hitting the
The thingonly real that sets a movie apart from the rest, now, is the storytelling Simon Yin
streets of Hong Kong, the best is yet to come. We havent yet seen any young professional filmmakers emerge (a Hong Kong Sam Raimi or Robert Rodriguez) using the medium to make a commercial feature that wouldnt otherwise be made. Even Gallants, which won Best Film at the Hong Kong Film Awards, was actually shot on film! I think HD has replaced film school, in that young people can actually go out onto the streets and learn on the job. None of them have actually graduated yet though! Hong Kong-based photographer turned cinematographer Evangelo Costadimas states that his career has gained momentum in recent years. He acknowledges an ethos that he believes made a difference when affordable film technol-
Cantonese Opera (2010)
Forget me not (2009) Evangelo Costadimas filmmaking career took off in Hong Kong and he worked on local productions.
ogy entered the market. Hong Kong independent filmmakers never cease to amaze me, said Costadimas. I find that a lot of camaraderie exists. They are able to pull resources together and create films even without a production budget. There is undoubtedly a revolution in filmmaking afoot. Largely because of the availability of relatively inexpensive DSLR cameras that are now able to capture video in High Definition 1080 quality. Couple that with the quality of very good lenses that many folks already had in their camera bags and you can achieve incredibly good video quality. It is also getting far easier to edit video and to the produce music and sound. In 2009, Costadimas photographs caught the eye of a local filmmaker and he was invited to work on an independent film. He sees the introduction of filmic digital cameras such as the Canon EOS 5D MKII and the Red One as monumental and, if indeed Hong Kong will turn into a cost-effective ready-made film set, budget and accessibil-
ity will improve considerably. Costadimas worked on the films Forget Me Not (2009) and Cantonese Opera (2010). The move from film to digital has lowered barriers and, combined with a resurgence of independent filmmaking, this has eased the difficulty for actors to compile content for their reels, said Chinese-American actor Andrew Ng who appeared in local production Supercapitalist (2011) and Bey Logans Snowblade (2011). Some things are getting made that while creative, may not have a market. None the less, the number of productions has grown. Ng, however, questions where the market really is for independent Hong Kong productions. He states that niche market success could be the rule rather than the exception for the kind of films being made. Recent developments in the industry, while making parts of the production process easier, have emphasised certain roles. The only real thing that separates a movie apart from the rest, now, is the storytell-
ing, said Hong Kong director Simon Yin who made Supercapitalist. I think digital filmmaking can go as far as you want to take it. Its about the digital filmmaking industry as a whole, digital distribution and digital marketing. The whole game has changed. But Gray stresses that budget remains an important factor and the current technology is not enough to make an industry-wide leap. It is still about screenwriters making their own short films, while waiting for the bigger production deals. Writing is the bedrock of filmmaking, said Gray. I think for some, digital can be a stepping stone to big budget professional productions but for most it is an industry in and for itself. If you want to be a writer-director, and I think that is the only thing worth being nowadays because the opportunities for making a living purely as a screenwriter are very limited at the best of times, you can train yourself by buying a camcorder and making small films.
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GLIMPSE
Thirteenth
The
Sign
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and masks of god
CREATED BY SNAKEBITE CORTEZ AND JOSHUA ORTEGA WITH DIGGER T. MESCH
part 1
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GLIMPSE | The Thirteenth Sign and masks of god
T
THE THIRTEENTH SIGN
www.petragallerie.com Mask and story:
Snakebite Cortez (Director Petra Gallerie)
he Cosmic Serpent Conjurer, Olucius. The Thirteenth Sign has been a reoccurring mystery star system in all cultures. In recent times it was said to change our personal zodiacs. The Grecians called it the web weaver, the designer of intent in the universe. Recently ancient text has been discovered, dating back before the Sumerians, outlining the purpose of The Thirteenth Sign. A cycle sign, said by the Maya to return in our sites when it was time to re-connect with spirit during the end of the long count, suggested by Jos Argelles. A time where we become the gods or heroes we have always been, but have forgotten because of our long history of social constructs and paradigms disconnecting us from the sources truth. Olucius, the Hero Maker, was said to be born from the consciousness of the universe
to balance itself. Where there is darkness you will find light. Where men do evil things, there are heroes to counter their affects on each of the worlds they live in. Some theorise the thirteenth sign is a planet with widespread orbital patterns said to cross event horizons with multiple solar systems. Planting hero seeds through the cosmos. Inspiring people to wear a different face, or mask. To assist them in the journey of self discovery and the choices individuals make that affect the whole. Showing us the paradox of the infinite choice and battle of what the Maya called, Mitot , the influence of the thousand voices. Raising the questions within our DNA. Who am I? Why am I here? Who do I decide to be? What mask do I wear?
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MEXICAN DEATH DEALER

Story: Joshua Ortega Mask: Gustavo
Django Vazquez
http://uncle-gus. deviantart.com/
t began with a YouTube clip on the Day of the Dead. The video was only up there for maybe an hour before it was pulled. It was that brutal. But people saw it. The right people. Or so the murderers thought. It was a drug war torture video, sent to a rival gang, which graphically showed a lead member of the rival gang being butchered, maimed, and finally murdered. It was supposed to be a warning to the rival gang, but all it did was provoke an all out war, a deathfest of nightmarish proportions. Innocents in a Dio de los
Muertos parade were caught in the crossfire including the brother of the man who was murdered. As he died, he saw images of his brothers death, like a YouTube video streamed straight to his head. Something awoke seconds later. It was him, but no longer him. He was now something more. A force of nature like no otherthe embodiment of death itself, not out for revenge or glory simply to kill. Distribuidor de la Muerte. The Death Dealer. The drug game will never be the same.
e grew up in the slums outside of the city, a red and white mangrove swamp serving as the tangled barrier between two worlds. There were legends about that swamp. People said that the swamp was alive not just alive like an ecosystem, but a living, sentient swamp. It looks into you, is what one local was quoted as saying. They also said that parts of the swamp could take the form of a manbut only when it was angry. On December 9, 2010, the swamp became angry. Toxic waste from the city was spilled into the swamp,
poisoning the ecosystem and countless residents in the slums. People grew sick. People died. But not the swamp. It grew stronger. Reports of a swamp man, or Swamp Thing, began circulating around the city. Pieces of the swamp began growing out of buildings, roads, sidewalks, walls, cars, everything Including people. The city is gone now. Only the swamp remains. Some say the Swamp Thing has moved to other cities, so look around sometime. You may find the Swamp Thing growing out of nearly anything
INDIAN SWAMP THING

Story: Joshua Ortega Mask: Brock Potter http://brockpotter.com
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he original Human Torch was first sighted at the Fudoin Temple in Hiroshima, shortly after the bombing by Allied Western forces during World War II. He emerged from the temple, glowing like unearthly fire, and was sighted by several survivors of the attack. Rumour has it that he was able to help those with radiation sickness by absorbing the radiation into his own body (though there is no scientific proof that this did occur, just first-hand accounts of survivors and witnesses). The Human Torch, as he was called, was active in the area for roughly one week, then his glow suddenly went out, and soon after, he died of radiation poisoning. His real name is still unknown to this day. It was a strange coincidence to say the least,
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Story: Joshua Ortega Mask: Digger T. Mesch http://digdeep entertainment.com
JAPANESE HUMAN TORCH
especially considering that the temple was one of the very few structures that survived the nuclear holocaust in 1945, and there are ancient records that indicate a burning man emerging from the temple in the 14th century...a fire samurai who defended the temple from invaders, and disappeared shortly thereafter. Recently, following the devastating Sendai quake and tsunami, there have been reports of a new Human Torch emerging from the temple yet again. Once again shrouded in mystery, this new Human Torch is said to be a survivor of a reactor meltdown in Fukushima. His final wish was to visit the Fudoin Temple, in honor of Japans fallen soldiers. He did. And he emerged as something else entirely.
The Thirteenth Sign and masks of god | GLIMPSE
MAORI SPIDER-MAN
Story: Joshua Ortega Mask: Sameerha www.petragallerie.com
Hathaway
The child was born Tapu Katipo, a predestined name to say the least. Missionaries roughly translated the name as Sacred (or taboo) Spider, though whether they translated the name properly is still hotly contested to this day. Regardless, there once existed a child, a normal child by all accounts, a well-liked child who was said to play well with others, both those of his tribe as well as the missionaries that increasingly were found throught the island nation. Tapu was a good student, quite pious (according to missionary records), and was known to take a stand against
things he viewed were not just, and was not afraid to take a stand. Even if that meant a flogging at the hands of the missionaries. One missionary, whose name has been lost to time, flogged him quite brutally on his 13th birthday, triggering something within young Tapu that certainly seemed predestined given his name. It was reported that he saw a spider crawl onto his arm, and when the final blow was given to him, the spider was crushed, biting Tapu in the process. The next day, Tapu was sighted climbing the side of a makeshift church. The next, he was swinging from a web-like substance above the branches of a Tatoki tree. The following week, the foresaid flogger was found floating in a nearby bay Covered in what could only be described as spider webs. The missionaries soon left the area, the floggings ceased, and this Spider-Man, as he came to be known, is still revered to this day for perserving something that could have been lost to the ephemeral web of time
The Thirteenth Sign: masks of god and Hollywood Retro were two shows that ran in fast-paced harmonious tandem at LAs Petra Gallerie. An experimental hybrid art exhibit that blended high fashion, fine art and the spirit of the Los Angeles streets showcased famous local artists and performers.Talent ran the gamut from famous painters, special FX artists, film production designers, make-up artists, toy designers and more. The stories and the masks took all present into a creative cosmos with a mystical message.
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Text and Images: Petra Gallerie
LIGHT LIGHT of the of the SHADOWS SHADOWS

Text: Remo Notarianni Images: Daniela Beltrani, Heri Dono
Indonesia
ART LANDS
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In the story of Indonesias Wayang, light dances with shadow, tradition with change, and compromise with controversy. And as contemporary art flourishes, the shadows of its puppet theatre continue to charm the land.
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ART LANDS | Indonesia
Artwork by Heri Dono
he varied forms that Indonesian Wayang has taken are testament to its survival. Although its origins are uncertain, a marriage of indigenous storytelling and puppet theatre was said to have taken place at the time Hinduism reached Indonesia around 1,600 years ago. And many performances of Wayang have since been adaptations of Indian classics like the Mahabharata as well as local stories. Javanese Wayang has been
highly influential, and the word Wayang is Javanese for shadow. However, the art form has its own regional versions, and is a part of the culture of the islands of Bali, Java, Sumatra, and Borneo. Even as contemporary art explores new ideas, the nation has continued to revere Wayang; the word itself is often used just to mean theatre. Most Indonesians are familiar with the stories of Wayang, said Edwin Rahardjo, founder of Edwins Gallery in Indonesia. However, the
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younger generation does not really explore it anymore, except maybe people from rural areas. Although Wayang is not widely used as a theme for contemporary art nowadays, it is a heritage that we cherish. Shedding new light Wayang became a national art form as history shaped the nation, and it appears to have survived by embracing change rather than defending tradition. As it became a medium for the religious stories of Hinduism, it found a popular role, melding art with religion and society. The Muslim presence in Indonesia modified Wayang significantly, creating Wayang Kulit (Wayang leather). The art form made another compromise that helped it historically adapt as stories became told with the shadow rather than with the puppet itself. Figures such as the Wayang Golek (rod puppets), found in
The different arts work together and they are connected by a philosophy
Northern Java or Sunda, had too much of a human form for Islamic leaders in Indonesia, as the religion forbade the depiction of humans, especially gods, in art. Wayang puppeteers thus told stories with the shadows of the figures against candles, but the puppets themselves remained appreciated; so thin and flat Wayang Kulit puppets were created. They were made to look even less god-like and Muslim Indonesia came to accept the art form. Actually in the tradition of Wayang there are no boundaries with the art discipline in the Wayang performance, said contemporary Indonesian
artist Heri Dono, whose art education included an apprenticeship with traditional puppet master Sukasman. The different arts work together and they are connected by a philosophy. Dono points to a spectrum of Wayang arts including the music of the Javanese Gamelan (a musical instrument), Bedoyo (dance), Pendopo (architecture), Serat Centini (literature), Ketoprak (theatre), and Batik (textiles). These make up a universe that the puppets communicate as the Dalang (storyteller) helps bring it into the human world. The puppet masters The reach of Wayang puppetry through history and to different sectors of society owes much to the craft of the Dalang. One might be tempted to liken the puppet master and storyteller to Europes fairground puppet artists, but the shamanic ceremony is
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Henri Donos Wayang Glocal 1 and 2
trance-like as the Dalang, who is often also a musician, might use a screen for his animated shadows. The way he transfixes an audience with adept movements of the figures is more magical than any sleight of hand. And unlike most theatre traditions, the stories and the animated puppets have enchanted a whole nation and been an agent for education and ideas. Arguably the most popular traditional story to be narrated in Wayang kulit is a Javanese version of the Mahabharata, which narrates a battle between the clans of the Kurawas and the Pandawas. Four peculiar characters under the collective name of Punokawan
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links Donoart to the
the nations indigenous cultural roots and the timeless spirit of art itself
are similar to the clowns of European theatre tradition but do more than entertain. Semar in particular is the divine protector of the island of Java and despite his unappealing appearance and rude antics, is a dispenser of wisdom, as Javanese ethics emphasise a negotiation of righteousness between opposite positions through rasa (sensibility) and
akal budi (prudence) instead of absolute truths. Its unsurprising that former Indonesian president Suharto hijacked Wayang to promote his political programmes and he was often satirically likened to Semar. But Dono links the art to the practices of the nations indigenous cultural roots and for that fact the timeless spirit of art itself. In Indonesias animist religion, they used puppet performances to call up their ancestors through a shaman,said Dono, In 1984 I did some research in my art school about cartoon animation, and about the visual language of European modern
Indonesia | ART LANDS
painters like Miro, Kandinsky, Picasso, Klee and Matisse. At the same time I studied Indonesian folklore and tradition, like Wayang. When I studied about cartoons I read from the history of cinematography that Wayang kulit (shadow puppets) is considered an early form of animation. In animist religions (like Javas Kejawen) people believe that everything has a soul. Artists believe that objects in the world of animation have a soul, a chair can run, one drop of water can smile. Nations new chapter Dono has referenced Wayang to make political statements
in his contemporary artwork and he has revitalised it by connecting it with the contemporary. In a sense, artists such as Dono have lessened the gap between tradition and modernity, helping it to adapt to historical change yet again. Heri Dono uses the visuals of Wayang in his works, and applies the tales in his own way, said Rahardjo. Generally, we try to apply the modern version of Wayang in various art forms, in order for it to fit the culture of today. Wayangs embrace of the new Indonesia could enrich the work of contemporary artists, by helping them to express a fresh perspective, one
that might culturally transfix a younger generation. And it owes much to the value Indonesia places on interweaving art into society, while keeping it alive as the nation enters a new era. There is a real excitement in Indonesia at the moment, said Australian art critic John Mcdonald. The art that appears at the art fairs and big international survey shows is extremely sophisticated and original, with an infectious energy. Its easy to imagine that Indonesia is in line to be the next big thing.
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MARKET VOICES : France
Text: Remo Notarianni Images: Christian Ogier
CONNOISSEURS PASSION FOR ART PAYS OFF
Christian Ogier with a Picasso from the Dora Maar series.
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Zao Wu Ki, 1954: Oil on canvas.
Zeng Fan Zhi 1999 Mask Serie no 8, Oil on canvas
French gallery owner Christian Ogier said he enjoyed great success at the 2011 Hong Kong International Art Fair. But after decades in the art business, Ogier can draw on experience in an industry that demands more than the desire to make a profit. If the market is only driven by money it will crumble, said Ogier, whose Parisbased gallery has showcased some of the biggest names in the Asian art world. He cooperated with Hong Kongs Anna Ning Fine Art at Art HK (11). I belong to a generation that saw the rise and fall of the Japanese art market which was driven mostly by financial and speculative trading and which disappeared. What is needed in the current art wave is a balanced rise. Of course, money
is an important fuel, but connoisseurship and passion are important for the survival of the industry. It was Ogiers love of the actual artwork that prompted an uncertain business move 30 years ago and this personal passion steered him away from a life in politics. Ogier entered the market in 1981, while working as a diplomat for the French Embassy in Port-Au-Prince, Haiti. He was inspired by a flourishing art scene in the nation that followed the downfall of a dictatorship. I was in a totally different world there as a young diplomat, and there was a very vibrant art community which was creating a fashionable kind of nave art, said Ogier, who reveals that his love of art is also driven
saw Ilimitsthe of
diplomatic work. To me the art world looked like it had lasting value
by a fascination for different cultures. I discovered the world of artists and dealers and decided it was more interesting than mine. I saw the limits of diplomatic work. To me the art world looked like it had lasting value. To begin with, Ogiers career in the art market was inspired by the connection between art, culture and people; and with a fascination for Asia, in 1983, he focused on Singapore and Japan. Artists in Singapore
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MARKET VOICES : France
Zao Wou Ki 1954
at that time were not well represented internationally and Tokyo was on the cusp of a great wave in Japanese art. And his enthusiasm helped him ride out the storms and learn the intricacies of a business not seen as immediately rewarding. My initial stint in the Asian art market lasted a short time because the dollar shot up and the price of once affordable artwork became expensive in France, said Ogier. At that point, I focused on French art for a while, but I discovered a brand new world to which I en44 / TPAG
tered and am still there now. When the Japanese art boom ended in around 1990, his passion was reignited by the current wave in Asian art, which started in 1998. But he states that unlike the European and American art wave of the sixties or the Japanese one of the eighties, there is still a great deal of mystery surrounding the current boom, which has much to do with Chinas preeminence economically and its global significance. There is a lot of action today in the art market and
its centered in Asia, where a lot of my business is, said Ogier. It is largely driven by the perspective of the rise of China. This perspective brings a lot of collectors from different countries to speculate in the nations art market. So, it is still a very speculative market and the first stage of the China boom, which was a craze, is over to a certain extent. What there is now is a more selective interest in artwork that is suitable for investment. Ogiers Sepia Galerie has presented artwork from mainland Chinese artists such
interests Whatas well is me
Three comrades Zhang Xiaogang. Oil on canvas, 1994
the Chinese view of the world and aesthetics. Chinese artistic perceptions are influencing the market.
as Zhang Xiaogang, as well as European masters like Picasso and Dali. He sees an aesthetic resonance in Chinese Cynical Pop Realists such as Yue Minjun that puts it in a global context while adding a Chinese flavour to Pop Art itself. But he also emphasises that different sectors of the market, including the growing modern traditional art in China, are leaving an enduring mark in different ways. What interests me as well is the Chinese view of the world and aesthetics. Chi-
nese artistic perceptions are influencing the market. said Ogier. It is true that when Chinas Cynical Pop Realists first appeared on the global art market, they seemed to be a little derivative of the Pop movement of America and Europe. They had a Chineseness about them which made them interesting. And now that they are joining the mainstream, they are no longer seen as Chinese artists but as global artists, which in the long run is a good thing. The contemporary art worlds of France and China do however remain quite different in terms of maturity and perceptions, even if they meet, as all do, on the global arena. In Ogiers movement between worlds, he has seen Chinese talent blossom in both, and cites artists such as Huang Yong Ping and Chen Zhen who have been very successful in France while not really appealing
globally or in China. Ogier is pleased to see how Chinese artists have integrated in France, to become part of its intelligentsia. This may be a testament to the perennial embrace of places such as Paris, that offer validation to new talent, but Ogier is confident about Chinas ability to understand its artists and the wider world they are a part of as its industry develops. There is nothing as yet like the Venice Biennale, or the Pompiou Centre in China but I can bear witness to the growing sophistication of Chinese collectors and art experts, said Ogier. There are leading connoisseurs, in terms of curatorship, like Fei Da Wei, Hou Han Ru who have intellectual weight in the West as much as in the East but the emergence of connoisseurship takes time and involves much more than buying works of art and playing with them on the market.
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MARKET VOICES : Singapore
CHAN HAMPE IN HONG KONG
Text: Bharti Lalwani
One of Singapores leading galleries, Chan Hampe had a distinct presence at the fourth Hong Kong International Art Fair in May. As one of the few Singapore galleries at Art HK 11, its success proved that the little red dot could take on the world with its creative clout. Bharti Lalwani talked to gallery owner Benjamin Hampe and artist Genevieve Chua about their impressions of the event.
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TPAG: Ben, This is the second year you have participated in an art fair. As a young gallery owner, with what expectations did you participate at Art Stage and Art HK and how different has the experience been each time? Ben: Participating in art
fairs is always a great opportunity to showcase the artists we represent and our
gallery to a large, diverse arts-interested public. The Singaporean visual arts community is seldom profiled at commercial art focused events so it is important for us to showcase the artistic talents that we have to an international audience. Participating in art fairs also gives us a chance to observe first-hand how the arts market is developing, both regionally and globally.
Genevieve Chua
Genevieve Chua, After The Flood #21 & #22 (2010) Hand-coloured Photographs, 50 x 150cm
The Singaporean visual arts com-
munity is seldom profiled at commercial art focused events - Ben
Genevieve Chua, Black Varieties #8 (2010) Hand-dyed photograph 60 x 90 cm
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Photos courtesy the Artist and Chan Hampe Galleries
MARKET VOICES : Singapore
TPAG: How did you decide to go with Genevieve Chua? Ben: Despite her relative
youth, Genevieve has enjoyed a tremendous success in Singapore and is quickly asserting herself internationally through artist residencies absolved in Canada and Singapore as well as group exhibitions in Hong Kong and Australia. Genevieve is a pleasure to work with and the spectrum of her work, from pencil drawings to photography and video installations, is not only testament to her artistic ability but also a documentation of her on-going development as an artist. She is a very suitable artist to represent Singapore at such a prestigious event.
and viewed I moved aroundquickly at the the offerings too fair but I guess HK generally makes one impulsive that way. - Genevieve
crowd. The response we got from the audience was very positive and encouraging. A major work was sold in the first hour of the vernissage. Genevieves meticulous attention to detail in her cyanotype series Moth to a Flame or in the hand-painted photographs in the After the Flood series generated a great deal of interest in her technique.
booth, available to speak to the audience about your work. Genevieve: It is always nice
to meet and talk to people who would like to know more about my practice. Although in fairs, it can be strange to be both artist and discussing figures so. Im glad my gallerist, Benjamin was there to readily provide information and deftly handle sales. Im grateful that my work can adapt to different conditions independent solo projects at non-profit spaces, the Singapore biennale, commercial shows, and then recently Art HK. I moved around and viewed the offerings
TPAG: How did the audience respond to Chuas works? Ben: As you mentioned earlier, art fairs are a great opportunity for emerging artists like Genevieve to showcase their work to an unfamiliar
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TPAG: Genevieve, as a young emerging artist (fresh from showcasing at the Singapore Biennale) how did you find the art fair? I know you were at the Chan Hampe
too quickly at the fair but I guess HK generally makes one impulsive that way. Its interesting to realise in hindsight which works resonated really well despite the pace of the fair and this is where I am clued in on how to be a better creator.
TPAG: Ben, you participated at Art Stage Singapore early this year, do you find a difference in fair audiences between Singapore and Hong Kong? Ben: This year was the first
year that Art Stage Singapore took place, as opposed to Art Hong Kong which is now in its fourth year running. To compare the two at this early stage would not be fair. Certainly attendance numbers were very high in Hong Kong as they have ready
access to mainland China. However although it is nice for the artist to get in front of peoples eyes - it really is about developing a collector base for the artist and the gallery. Although I will say the punters in Hong Kong obviously had more experience with dealing with galleries, knowing how to ask the correct questions. All in all both fairs were a great experience for us though.
TPAG. Ben, Genevieve, tell us about your future projects. Ben: Chan Hampe Galleries
will be celebrating its first year anniversary in August 2011, and what a year it has been! We look forward to continuing to support and showcasing Singaporean artists and providing a platform for an East West cultural ex-
change. Upcoming projects include a solo exhibition by renowned Chinese/Australian artist Guan Wei as well as showcasing more local artists through the on-going Fullerton Heritage Gallery program; as well Art Link in conjunction with the National Heritage Board Heritage Industry Incentive Programme. Definitely an exciting year ahead so stay tuned! Genevieve: A solo exhibition of drawings at C-C-C Shizuoka, Japan (July 2011) where I am also taking up a residency programme. In September, I will be in Gyeonggi Creation Centre, Korea, working on a range of multimedia projects. No particular idea where this is headed for now, but any opportunity for experimentation is enough to excite me. Upcoming shows in Singapore include the Singapore Survey at VWFA (August 2011), Art Incubator Exhibition at Lasalle Praxis Space (Nov 2011) and BMW Young Artist Series at STPI (Nov 2011).
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SPACE
Roman Doric columns. A few blocks to the north, the slender Church of Our Lady of Lourdes, on Ophir Street, is one of Singapores most eyecatching Catholic churches. Constructed in 1888, its neoGothic design is modelled after the original church in Lourdes, France. Back at Demsey Hill, Muller explains the architecture of the serene redbrick St Georges Hill and whence it came. Several decades ago, this was the British Army Garrison church. But actually this form of church goes back many centuries to the very first Christian churches of the Romanesque period in Northern Europe, in the Fourth and Fifth Centuries AD, when Christendom had finally become sufficiently established and widespread to have generated its own style of building for worship. That style is called the Basilica. The Christian basilica is basically a long rectangular barn-shape, based on a temple that the Greeks had developed in antiquity -- and which the Romans subsequently copied a rectangle with a pitched roof and columns surrounding it. The action all took place at the altar end, with the congregation entering at the back and other entrances but facing the front. Creativity on a biblical scale was thriving on the Little Red Dot long before the arrival of the first air-conditioned shopping mall or governmental plan to enhance the citys image as an arts centre.
Text: Nick Walker Images: David Chan/ Singapore Tourism Board

Ecclesiastical architecture is about much more than glorifying The Lord. Its about the people who have gone before us. And about the threedimensional form of buildings the fusing of shapes and motifs to form something that has integrity and function. Concurrently its about all the details that dovetail together to enhance that form. And St. Georges Church in Singapores Demsey Village, is a excellent example of this, as are the many other houses of worship here, says Klaus Muller, a Berlin pastor and writer travelling through Southeast Asia in order to research a book on ecclesiastical architecture in East Asia. Singapore is many things to many people: the Lion City, the ultimate nanny state, the late-blossoming orchid of Southeast Asian arts and culture, and a handy place to stop on the way to the Antipodes. It is also somewhat incongruously a tropical town of dreaming spires,
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TOUCHED BY THE HAND OF GOD

as evidenced by the large number of traditional-looking churches. Of these, the largest and most conspicuous is the Anglican Saint Andrews Cathedral, the countrys largest Christian house of worship. This is actually the third cathedral that has existed on this site, and was designed by soldier-turned-architect Ronald MacPherson. Nearby, in Hill Street, stands the Armenian Church, holder of the title of the oldest Christian church in Singapore. It was designed by another Victorian Briton, George Drumgoole Coleman, Overseer of Convicts and Superintendent of Public Works, who was the architect of many of Singapores finest historical buildings. The citys existing Armenian Church is modelled after St Gregorys Church in Echmiadzin, the mother church located in northern Armenia. The circular structure projects square porticos employing
Photo of St George
PERSPECTIVES : Art HK 2011
The fourth edition of Art HK established it as one of the worlds art extravaganzas, if not Asias premier art fair. The hubbub surrounding it certainly made it seem like an event in which the giants of the art world headed East and the result was elegantly historical.
OF THE TITANS
CASH
Text: Bharti Lalwani
JULY 2011 / 51
There was a diverse selection of artwork at Art HK (11).
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SOLD SOLD
Jake and Dinos Chapmans Dass Kapital ist Kaput? Ja? Nein! Dummkopf! (2008) Claes Oldenburgs 1961 soft sculpture
SOLD
Bharti Khers An eye for an eye
They came, they saw, they collected? The West didnt conquer the East and neither did visa versa happen. But the diversity at Art HK (11) raised questions about Western artists in Asia, as a debate about Ai Wei Wei, whose work was sold at the event by a Swiss gallery, added a ghostly conscience to all present. Beyond that, an obvious difference this year was that the fair was split into two floors the lower level for established galleries and the upper floor was reserved for Art Futures (a term that with all its financial connotations refers to younger artists) and a new Asia One section
where Asian galleries can exhibit the solo shows of emerging artists. This at least allowed space for artwork appreciation between booths unlike last year when, on the day of the vernissage, you couldnt move two feet without hearing the sound of breaking champagne flutes! New participants this year included the Tanya Bonakdar Gallery, Blum & Poe, Peter Nagys Nature Morte from Delhi and Vitamin Creative Space from Hong Kong. Blue chip galleries this year had a greater selection of recognisable artists Londons White Cube, instead of emphasising The Hirst or The Emin, brought
Blue chip galleries
this year had a greater selection of recognisable artists
in a good selection by other artists such as Jake and Dinos Chapmans Hellscape Dass Kapital ist Kaput? Ja? Nein! Dummkopf! (2008). This surprisingly sold to an Asian collector for 525,000 and Hauser & Wirth London sold Bharti Khers An eye for an eye, (2011) to a
JULY 2011 / 51
Beijingbased collector for US$265,000. I spotted Jose Mugrabi at a NY gallerys booth. This main floor on the whole felt dull, empty even, and the sales seemed slow in comparison to the upper sections Asia One and Art Features where works were not only affordable but also more experimental, edgy, uninhibited and apparently fun, judging by the number of families out with kids to explore art! But heres the heart of the matter, for an art fair in Asia, who do you think will make better sales the overseas gallery selling Venessa Beecroft, Olafur Eliasson or Yinka Shonibare or the Asian gallery selling Chinese or Indonesian artists such as Liu Wei, Yan PeiMing, Fx Harsono or Heri Dono, whose representatives can speak at least Cantonese or Bahasa? After all why should a Chinese or a Southeast Asian collector buy Tracy Emin, for instance, when her work has no direct cultural resonance with this
54 / TPAG
particular audience? L & Ms (NY) Francois Renet explained his decision for bringing in heavyweight works which would be new and unfamiliar to the Asian audience such as a 1961 soft sculpture by Claes Oldenburg as well as a Jeff Koons Walrus Trashcan which went unsold (his Orange Monkey Train painting did sell to an Asian buyer for USD 3.5 million). Those figures indicate a successful event. But basically L&M and many other galleries are in agreement with fair director Magnus Renfrew that the primary focus is not on making blockbuster sales but instead on educating diverse audiences many of whom are treading towards an art fair for the first time. The fair then becomes a hub for an exchange of ideas and not just about Asian Audience learning about western artists but the other way round as well. It might also prove that artists on both sides of the camp can resonate internationally through the
universal language of art. As most of us know, Art Basel has bought into Art HK (whch has in turn bought into India Art Summitnow India Art Fair) so it will be extremely interesting to watch the eastern hemisphere in 2012 and the former Basel head Rudolph Lorenzos Art Stage Singapore (or A.S.S) 1215th January, then India 2529th of the same month followed by Hong Kong 25th February. But before you think fair fatigue, get this Lorenzo was at Art Hk to assure potentially interested galleries that he would be willing to change the dates around as its too close to India and HK, while I have it on good authority that Magnus will keep the May dates as businesses will be shut during the Chinese New Year for the entire month starting the end of January 2012! Unless Im completely wrong and Art HK maintains its February dates on the presumption that the locals will forego their lunar holidays just because theres an art fair in town!
The fair was divided with established galleries on the lower floor and new sections called Asia One and Art Futures on the upper floor.
JULY 2011 / 55
PERSPECTIVES
Jake and Dinos Chapman, Dass Kapital ist Kaput? Ya? Nein! Dummkopf
White Cube, London

There were two serious collectors interested within the first hour and Dass Kapital ist Kaput? Ya? Nein! Dummkopf! sold for 525,000 God and the devil were in the detail in this piece and it wasnt just collectors interested - students, from school children to art school were compelled by the work. It is also deeply darkly comic a brilliant mixture of The Last Judgement in collision with Hammer House of Horror all rendered with forensic precision. As one young student said to me this is horrible I love it Tim Marlow, Director of Exhibitions
ART OF THE SALE

It may have been the first time that such an international art crowd converged on Hong Kong. Galleries were expectant, and for some it was an experiment. At Art HK (11), many came away with sales, but all experienced art market history first-hand and they had different things to say about the event.
56 / TPAG
Alan Cristea Gallery, London

Gordon Cheungs Still Life with Tulips on Orange was amongst the most popular pieces and had a lot of interest. People were drawn to this piece because of the striking colours, the highly impastoed texture of the surface of the piece, the combination of different painting techniques with collage and the art historical reference. Hanna Sorrel, Exhibitions Co-Ordinator
Gordon Cheung, Still Life with Tulips on Orange
Arndt Gallery, Berlin

Art HK (and probably soon Art Basel Hong Kong) has established itself as the leading art fair in Asia within just four years. Thanks to a lot of hard work preparing for the fair and establishing contacts in the region over the last four years, my third time participating in it was a great success. We sold works by Sophie Calle, Nedko Solakov, Chiharu Shiota, Gilbert & George, significant magna opera by Liu Xiaodong, Wang Guangyi and Jitish Kallat. Matthias Arndt, Director
JULY 2011 / 57
Jitish Kallat, Field Notes (Sweat on the Clouds)
PERSPECTIVES : Art of the Sale
Yumiko Chiba Associates, Tokyo

So many galleries participated and the fair showed quality works from all over the world. In such an arena, the galleries from Asia put up a brave fight against the small galleries. Yuichi Higashionnas works got a good reaction from many people. Despite all the other art, collectors showed a great interest in our booth. Keiko Mizuno
Yuichi Higashionna, installation
L&M Arts, New York & LA

I thought Art HK (11) was incredibly well-organised for such a young fair and was a beautiful experience and the fact that Art Basel bought it confirms this. I think mistakes, such as separating Asian galleries from non-Asian ones was a mistake that is being corrected. We sold Jeff Koons Orange Monkey Train to a European collector. it has a great pop sense with the colours and the artist is wellknown in the region. Dominique Levy, Partner
Jeff Koons, Monkey Train (Orange)
58 / TPAG
Support our ART to the heARTland and project
Social Creatives is a non-profit organization with a mission to connect youths through art.
Tel: 8366 6093 email: info@socialcreatives.com
CM
MY
CY
CMY
Montage III - Zu Garbriele Mistral, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s
58 / TPAG
Art Trove
Cal
Art Trove
960s
51, Waterloo Street, #02-01/02/03, Singapore 187969

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, enquiry@art-trove.com ww.art-trove.com JUNE 2011 / 59
SINGAPORES ART & HERITAGE DISTRICT

SC OT
BU
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- Art Forum - The Tolman Collection
SE
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CLE MEN CEA
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- Pop and Contemporary Fine Art - Gallery Reis Artspace @ The Royal on Scotts
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Third Floor Hermes
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NTR
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- Heng Artland - Jasmine Fine Art - Sin Hua Gallery - Drawing Gallery Opera Gallery Vue Prive
F DE
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BU
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YOUR Mother Gallery
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Art GoGo
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Larasati
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M.A.D (Museum of Art & Design)
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The Picturehouse
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Young Musicians Society Forest Rain Gallery Singapore Calligraphy Centre Art Trove, The Private Museum, M Gallery, Yavuz FA
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Foundation Oil Painting
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Night & Day
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OVAS Art Gallery
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Action Theatre
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8Q SAM Singapore Art Museum
RD
RIVER VALLEY RD
Impress Galleries
Fort Canning Park

FOST Gallery
National Museum of Singapore
Eagles Eye Art Gallery
The Substation Peranakan Museum

Chan Hampe Galleries
KIM SE NG RO AD
DBS Arts Centre Singapore Repertory Theatre
RI
Singapore Philatelic Museum
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72-13
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GANGES
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ARTXCHANGE Gallery
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The National Art Gallery, Singapore

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The Esplanade
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AN DR DEMPSEY, HOLLAND, TANGLIN & WESSEX OA
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MAIN ROAD SMALL ROAD EXPRESSWAY
Singapore Botanical Garden
ENS
Source Contemporary African Fine Art
WAY
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ART GALLERY
ROA D
PUBLIC PLACES SCHOOLS

IN GL A RO D
NAPIER ROAD
MRT
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The Gallery of Gnani Arts, GJ Asian Art
Boons Pottery, Bruno Gallery
NW
Barrosa Studio, DArt, Geeleinan Art Gallery & Studio, Kelly Reedy Studio Arts, Marisa Keller, Sealey Brandt Photography Studio,
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The Peach Tree
Echo Art Gallerie Ha Karen Art Gallery Hogarth Art London Kwan Hua Art Gallery Li Fine Art Mulan Gallery Peters Frame Sun Craft Yang Gallery
GALLERY SPOTTED
TANJONG PAGAR, CHINATOWN & RAFFLES

ALEXANDRA RD
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Art Trove Gallery 51 Waterloo Street #02-01/2/3 Singapore 187969

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Momentous Ats
ESPLANAD
T: +65 6336 0915 F: +65 6336 9975 E: enquiry@art-trove.com W: www.art-trove.com Opening Hours Wed- Sun: 11am to 6.30pm Call for private viewing
DreamSpace Art Studio Sothebys Institute of Art Collectors Contemporary, Mercedes-Benz Center, Volvo Art Loft Galerie Sogan & Art
QU ER CO LLY
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MERLION iPRECIATION The Fullerton Heritage
GE SO UT H BR ID
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Outram Station
RD
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Galerie Belvedere
Jeremy Ramsey Fine Art
BR
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Chan Hampe / Fill-your-walls Living Portrait
ON
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Red Dot Traffic
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Indigo Blue Art
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Artcommune Gallery, Ken Crystals
Utterly Art
M AX
W EL L RD
CENTRAL BLVD
CAN TON
SW
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Give Art
KE
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AYER RAJAH EXPRESSWAY

Fortune Cookie Projects, Galerie Waterton, Light Editions Gallery, L2 SPACE, ReDot Gallery, Valentine Willie Fine Art
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Tanjong Pagar Station
Marina Bay Station
MEN D TR
MARCH 2011 / 63 JUNE 2011 / 62
DIRECTORIES
singApOre gAlleries
A
Andrewshire gallery 5 Swiss Cottage Estate Aratong galleries 26 Mount Pleasant Drive Art facet 10 Anson Road #19-08 Art forum 82 Cairnhill Road Art glass solutions 30 Kuo Chuan Avenue Art seasons 7 Kaki Bukit Road 1 #02-12 Art tree gallery 333A Orchard Road #04-11
Chan hampe galleries @ Raffles Hotel 328 North Bridge Road #01-04 Raffles Hotel Arcade Singapore 188719 T: +65 6338 1962 @ tanjong pagar 21 Tanjong Pagar Road #04-02 Singapore 088444 T: +65 6222 1667 www.chanhampegalleries.com
Art trove 51 Waterloo Street #02-01 to 03 Singapore 187969 T: +65 6336 0915 www.art-trove.com
Art-2 gallery 140 Hill Street #01-03 artcommune 133 New Bridge Road #02-77 Artfolio 328 North Bridge Road #02-25 Artgogo 402 Orchard Road #02-08 ArtinnO 391B Orchard Road #23-01 Arty Art gallery 686A Woodlands Drive 73 #15-52
d
dArt 5 Westbourne Road #02-03 dpeak Art space Kaki Bukit Road 1 #01-07
DaTang Fine Arts Singapore 177 River Valley Road, Liang Court , #02-09A Singapore 179030 T: +65 9846 2098 / +65 9721 3718 www.9911art.com
dlr gallery 22 Marshall Road dynasties Antique & Art gallery 18 Boon Lay Way #01-136
ArtxChAnge gallery 6 Eu Tong Sen Street #02-65 The Central Singapore 059817 T: +65 9027 3997 (Benny) www.artxchangegallery.com
e
eagles eye 39 Stamford Road #01-01 echo Art galerie 19 Tanglin Road #02-59 evil empire 48 Niven Road
B
Boons pottery 91 Tanglin Road #01-02A Tanglin Place Singapore 247918 T: +65 6836 3978 www.boonspottery.com Bruno gallery 91 Tanglin Road #01-03 Tanglin Place Singapore 247918 T: +65 6733 0283 www.brunoartgroup.com
Bartha & senarclens 75 Emerald Hill Road
f
fill your walls 21 Tanjong Pagar Road #04-02 Singapore 088444 T: +65 6222 1667 www.fill-your-walls.com forest rain gallery 261 Waterloo Street #02-43/44 Singapore 180261 T: +65 6336 0926 www.forestraingallery.com
fOst 65 Kim Yam Road
C
Cape of good hope 140 Hill Street #01-06 CdeM Art & design Blk 5 Westbourne Road #01-02 Collectors Contemporary 5 Jalan Kilang Barat #01-03 COMBinArt 27 Woodlands Industrial Park E1 #01-08
g
galerie Belvedere 168 Robinson Road #36-01 galerie Waterton 39 Keppel Road #02-01 gj Asian Art 1 Cuscaden Road #01-03 the gallery of gnani Arts 1 Cuscaden Road #01-05
64 / TPAG
DIRECTORIES
Gallery Reis 390 Orchard Road #03-01/02
The Gallery of Gnani Arts 1 Cuscaden Road #01-05 The Regent Singapore 249715 T: +65 6725 3112 www.gnaniarts.com
Muse The Art Gallery 268 Upper Bukit Timah Rd #03-09 @ The Old Fire Station Singapore 588210 T: +65-8388 0044 www.musetheartgallery.com
O H
HaKaren 19 Tanglin Road #02-43 Heng Artland 290 Orchard Road #04-08 Ode to Art 252 North Bridge Road #01-36E/F Ooi Botos Gallery 11 One Tree Hill Opera Gallery 2 Orchard Turn #03-05
I
Impress Galleries 1 Kim Seng Promenade #02-07/08 Indigo Blue Art 33 Neil Road INSTINC 12 Eu Tong Sen Street iPRECIATION 1 Fullerton Square #01-08
OVAS Art Gallery 9 Penang Road #02-21 Park Mall Singapore 238459 T: +65 6337 3932 www.ovas-home.com
K
KARTESTUDIO 181 Orchard Road #B2-23/29
P
Pop and Contemporary Fine Art 390 Orchard Road #03-12 Palais Renaissance Singapore 238871 T: +65 6735 0959 www.popandcontemporaryart.com
Ken Crystals 6 Eu Tong Sen Street #03-72 The Central Singapore 059817 T: +65 6339 0008 E: kencrystals@yahoo.com.sg
Kwan Hua 19 Tanglin Road #02-09
R
ReDot 39 Keppel Road #02-06 Red Sea 9 Dempsey Road #01-10
L
L2 Space 39 Keppel Road #02-02A Larasati www.larasati.com
S
S.Bin Art Plus 140 Hill Street #01-10/11/12
Li Fine Art 19 Tanglin Road #03-32 Tanglin Shopping Centre Singapore 247909 T: +65 6235 3306 www.lifineart.com
Linda Gallery 15 Dempsey Road #01-08 Light Editions Gallery 39 Keppel Road #02-02B Living Portraits 31 Tanjong Pagar Lukisan Art Gallery 110 Faber Drive
Galerie Sogan & Art 33B Mosque Street Singapore 059511 T: +65 6225 7686 Hp: +658138 0277 www.soganart.com
Sun Craft 19 Tanglin Road #02-08
M
M Gallery 51 Waterloo Street #03-03B/04 Metakaos 1 Kaki Bukit Road 1 #03-22 Mulan Gallery 36 Armenian Street #01-07
Sunjin Galleries 43 Jalan Merah Saga #03-62 Work Loft @ Chip Bee Singapore 278115 T: +65 6738 2317 www.sunjingalleries.com.sg
JULY 2011 / 67
DIRECTORIES
T
Tasa Gallery 89 Short Street Tembusu 140 Hill Street #01-05 The Gallery of Gnani Arts One Cuscaden Road #01-05 The Peach Tree 129 Tanglin Road The Tolman Collect 82 Cairnhill Road MUSEUMS Asian Civilisations Museum www.acm.org.sg Changi Museum 1000 Upper Changi Road North MAD Museum of Art & Design 333A Orchard Road #03-01 MINT Museum of Toys 26 Seah Street National Museum of Singapore 93 Stamford Road Peranakan Museum 39 Armenian Street Post Museum 107/109 Rowell Road The Private Museum 51 Waterloo Street #02-06 Red Dot Design Museum 28 Maxwell Road RSAF Museum 400 Airport Road Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street Singapore Coins and Notes Museum 2 Trengganu Street Level 3 Singapore Navy Museum 32 Admiralty Road West Singapore Philatelic Museum 23B Coleman Stree
U
Utterly Art LLP 229A South Bridge Road Singapore 058778 T: +65 9487 2006 +65 6226 2605 www.utterlyart.com.sg
V
Valentine Willie Fine Art 39 Keppel Road #02-04 VITRIA 17 Chee Hoon Avenue Vue Privee 20 Cairnhill Road
The Luxe Art Museum 6 Handy Road #02-01 The Luxe Singapore 229234 T: +65 6338 2234 www.thelam.sg
W
Wais Art Gallery 6 Eu Tong Sen Street #02-64 Wetterling Teo Gallery 3 Kim Yam Road White Canvas Gallery 78 Guan Chuan Street
VENUES / ASSOCIATIONS / GROUPS Alliance Franaise de Singapour 1 Sarkies Road Art Retreat (Wu Guanzhong Gallery) 10 Ubi Crescent #01-45/47 ARTSingapore www.artsingapore.net ArtSpace at Royal Plaza Hotel 25 Scotts Road COMBINART 27 Woodlands Industrial Park E1 #01-08 Esplanade 1 Esplanade Drive Emily Hill 11 Upper Wilkie Road Give Art 65 Spottiswoode Park Road Gnani Arts Space 190 Middle Road #02-03/31 Jalan Bahar Clay Studios 97L Lorong Tawas JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2 La Libreria 50 Kent Ridge Crescent Level 3 Little Red Shop www.littleredshop.org
X
Xuanhua Art Gallery 70 Bussorah Street
Y
Yang Gallery 19 Tanglin Road #02-41 YAVUZ Fine Art 51 Waterloo Stree #03-01
Yisulang Art Gallery 6 Handy Road #01-01 The Luxe Singapore 229234 T: +65 63376810 www.yisulang.com
Your MOTHER gallery 91A Hindoo Road
Mercedes-Benz Center 301 Alexandra Road Singapore 159968 T: +65 6866 1888 www.mercedes-benz.com.sg
Ngee Ann Cultural Centre 97 Tank Road Night & Day 139 A/C Selegie Road Osage 11B Mount Sophia #01-12 Post-Museum 107+109 Rowell Road Public Art Space (Pan Pacific) 7 Raffles Boulevard Sculpture Square 155 Middle Road Sinema 11B Mount Sophia #B1-12 Singapore Art Society 10 Kampong Eunos Singapore Contemporary Young Artists www.contemporaryart.sg The Art Gallery 1 Nanyang Walk The Arts House 1 Old Parliament Lane
#
2902 Gallery 11 Mount Sophia Block B #B2-09
ART AUCTIONEERS / DEALERS Black Earth Auction 367 Joo Chiat Road Borobudur www.borobudurauction.com Masterpiece www.masterpiece-auction.com Y2ARTS 140 Hill Street #01-02 33 Auction www.33auction.com
68 / TPAG
DIRECTORIES
The Gallery (SMU) 90 Stamford Road The Picturehouse 2 Handy Road The Substation 45 Armenian Street Third Floor Herms 541 Orchard Road Victoria Theatre & Concert Hall 11 Empress Place Volvo Art Loft 249 Alexandra Road 72-13/TheatreWorks 72-13 Mohamed Sultan Road ART SERVICES
ART SCHOOLS Bhaskars Art Academy 19/21 Kerbau Road LASALLE 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St NTU (School of Art, Design & Media) 81 Nanyang Drive NUS Museum 50 Kent Ridge Crescent School of the Arts (SOTA) 1 Zubir Said Drive Sothebys Institute of Art 82 Telok Ayer Street The Republic Cultural Centre 9 Woodlands Avenue 9 The Singapore Tyler Print Institute 41 Robertson Quay ARTIST STUDIOS Barrosa Studio 4 Woking Road #01-02
ma ARTS Transportation & Installation of Art Works Other art related services. +65 8611 5280 alfred@maarts.com.sg
Rays Transport & Services Artwork Installation & Delivery Services All other Art related services +65 91522511 artswithray@gmail.com
Chieu Sheuy Fook Studio Studio 102 91 Lorong J Telok Kurau Road Singapore 425985 +65 96690589 email: chieusf@gmail.com DreamSpace Art Studio 19 China Street #03-04/05 Far East Square Singapore 049561 +65 9168 7785 www.hill-ad.com.sg Foundation Oil Painting
FRAMERS Ace Framing Gallery 226 River Valley Road Frame Hub Gallery 46A Lorong Mambong Peters Frames 19 Tanglin Road
(conducted by Mr Wee Shoo Leong)
CONSERVATION / RESTORATION
155 Waterloo Street #01-04 Stam ford Arts Centre Singapore 187962 +65 9726 2028
Benaka Art Conservation Private Ltd 64 Taman Warna
www.foundationoilpaintingclass.com
Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03 Jeremy Ramsey Fine Art 16 Bukit Pasoh Road Kelly Reedy - Studio Arts 27 Woking Road #01-01 Ketna Patel 35 Jalan Puteh Jerneh
Koeh Sia Yong 10 Kampong Eunos Singapore 417774 +65 9671 2940 e: koehsy@singnet.com.sg www.yessy.com/koehsiayong
www.koehsiayong.artfederations.com
Marisa Keller 28 Woking Road #03-05 Sealey Brandt Photography Studio 1 Westbourne Road #01-02 Telok Kurau Studios 91 Telok Kurau Lorong J
TOURIST SPOTS
Armenian Church 60 Hill Street Battle Box 51 Canning Rise Botanic Gardens 1 Cluny Road +65 6471 7361 Buddha Tooth Relic Temple 288 South Bridge Road
JUNE 2011 / 69
DIRECTORIES
HONG KONG ART GUIDE
Amelia Johnson Gallery www.ajc-art.com Fabrik Contemporary Art www.fabrik-gallery.com Gagosian Gallery www.gagosian.com Galerie Huit www.galeriehuit.com.hk Hanart TZ Gallery www.hanart.com I/O Input Output www.inputoutput.tv Karin Webber Gallery www.karinwebbergallery.com Kings gallery www.kingsgalleryhk.com MADHOUSE Contemporary www.madhouse.com.hk Madhouse Contemporary www.madhouse.com.hk New Gallery on Old Bailey www.newgalleryonoldbailey.com Shin Hwa Gallery www.shinhwagallery.com Yan Gallery www.yangallery.com
UNITED STATES ART GUIDE
L & M ARTS 45 East 78 Street New York 10075 +1 212 861 0020 www.lmgallery.com
LONDON ART GUIDE

AICON GALLERY London 8 Heddon Street, London W1B 4BU Chinese Contemporary The Studio House, 7/9 Edith Grove ,London, SW 10 0JZ Danielle Arnaud contemporary art 123 Kennington Road, London SE11 6SF Hai Gallery 46a Harrowby Street, Marble Arch, London W1H 5HT Halcyon Gallery 24 Bruton Street, London W1J 6QQ Jealous Gallery 27 Park Road N8 8TE Crouch End London Kings Place Gallery 90 York Way, London N1 9AG Lisson Gallery 52-54 Bell Street, London, NW1 5DA Richard Green147 New Bond Street, London, W1S 2TS Serpentine Gallery Kensington Gardens, London W2 3XA South London Gallery 65 Peckham Road, London SE5 8UH The Air Gallery 32 Dover Street, London W1S 4NE The Brick Lane Gallery 196 BRICK LANE, E1 6SA London The Hart Gallery 113 Upper Street, Islington London N1 1QN Walton Fine Arts 154 Walton Street, Knightsbridge, London SW3 2JJ
JOHN P. FELIX AND PETRA GALLERIE www.petragallerie.com 1149 and 1151 S. Robertson SORO, Los Angeles, CA 90035 310-247-0252
ART FAIRS
Art Fair Tokyo www.artfairtokyo.com China International Gallery Exposition (CIGE) www.cige-bj.com Art Beijing www.artbeijing.net Art Revolution Taipei www.arts.org.tw Art Melbourne www.artmelbourne10.com.au Young Art Taipei www.youngarttaipei.com Hong Kong International Art Fair (ART HK) www.hongkongartfair.com Art Indonesia www.artindonesia.net Art Daegu www.artdaegu.com Melbourne Art Fair www.artfair.com.au/fair Auckland Art Fair www.aucklandartfair.co.nz Asia Top Gallery Hotel Art Fair Seoul (AHAF) www.hotelartfair.kr Art Taipei www.art-taipei.com SH Contemporary www.shcontemporary.info Shanghai Art Fair www.sartfair.com ARTSingapore www.artsingapore.net Fine Art Asia www.fineartasia.com Art Canton (Canton International Art & Collection Fair) www.artcanton.com Art Expo Malaysia www.artexpomalaysia.com Affordable Art Fair (Singapore) www.affordableartfair.sg Contemporary Istanbul Art Fair www.contemporaryistanbul.com Art Stage Singapore www.artstagesingapore.com India Art Summit www.indiaartsummit.com Art Dubai www.artdubai.ae Contemporary Istanbul Art Fair www.contemporaryistanbul.com
EUROPE ART GUIDE
FLO PETERS GALLERY Chilehaus C Pumpen 8 20095 Hamburg, Germany +49 40 3037 4686 www.flopetersgallery.com
Elliott Erwitt/MAGNUM Photos
GALERIE CHRISTIAN LETHERT Antwerpener Strasse 4 D - 50672 Kln (Cologne) Germany +49 (0)22 1356 0590 www.christianlethert.com
70 / TPAG

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The Pocket Arts Guide (July Issue)

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POP AND CONTEMPORARY FINE ART

Burton Morris - Chanel Green

Jason Lim Duet and Still/ Life in Poland

Enter the Auteurs

The Thirteenth Sign and masks of god

7 Art Wire 40 Market Voices

Galleries updates and events

Touched by the hand of God

49Art Hong Kong 2011

54 Perspectives 59 Map 64 Directory Listing

ISSN 2010-4375 / MICA (P) 252/09/2010

Remo Notarianni Editor-in-Chief

Recycle. Pass THE POCKET ARTS GUIDE forward.

16 th June 21 s t July 2011

in the 1950s, has tak-

SITE SPECIFIC WORKSSCULPTURE IN THE PARK

ORIANO GALLONI SILENT SOUL

UNITED ARTISTS OF ITALY: A PROJECT BY GALLERIA MASSIMO MININI

BAA BAA BLACK SHEEP

WHO FIGHTS FAIR?

ONCE UPON A TIME

JULIAN OPIE EDITIONS RETROSPECTIVE

EXHIBITION TERRACOTTA WARRIORS: THE FIRST EMPEROR AND HIS LEGACY

United States (LA)

NELLEKE BELTJENS: THEY DONT KNOW EITHER

HWANG SAE JIN:

IN THE FRAME | Hwang Sae Jin

Text: Remo Notarianni

imagery, we can see the artifice of modern civilization

My work expresses the

The Devil Wears Flowers Acrylic on canvas with fabric.

Hwang Sae Jin | IN THE FRAME

Duet and Still/Life in Poland

Text: Remo Notarianni

Andrew Ng (left) and Aaron Palermo (right) in Brobots (2009)

Aaron Palermo in Apartment Lullaby (2007)

STORY | Enter the Auteurs

Cantonese Opera (2010)

and masks of god

CREATED BY SNAKEBITE CORTEZ AND JOSHUA ORTEGA WITH DIGGER T. MESCH

GLIMPSE | The Thirteenth Sign and masks of god

Snakebite Cortez (Director Petra Gallerie)

MEXICAN DEATH DEALER

INDIAN SWAMP THING

Story: Joshua Ortega Mask: Digger T. Mesch http://digdeep entertainment.com

JAPANESE HUMAN TORCH

The Thirteenth Sign and masks of god | GLIMPSE

Text and Images: Petra Gallerie

LIGHT LIGHT of the of the SHADOWS SHADOWS

ART LANDS | Indonesia

Artwork by Heri Dono

Henri Donos Wayang Glocal 1 and 2

links Donoart to the

Indonesia | ART LANDS

MARKET VOICES : France

Text: Remo Notarianni Images: Christian Ogier

CONNOISSEURS PASSION FOR ART PAYS OFF

Christian Ogier with a Picasso from the Dora Maar series.

Zao Wu Ki, 1954: Oil on canvas.

Zeng Fan Zhi 1999 Mask Serie no 8, Oil on canvas

MARKET VOICES : France

Zao Wou Ki 1954

interests Whatas well is me

Three comrades Zhang Xiaogang. Oil on canvas, 1994