Download - Singapore Dada Proposal Draft
LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17
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the spirit of the times “SINGAPORE DADA” EXHIBITION BRIEF
AN INTRODUCTION
The propagators of the Dada movement reacted against the World War and
formalised norm in the Western civilisation. To the Dadaist, they have “lost
confidence in their (our) culture”. For them, their society has entered into a dark age
of bleak values, twisted morality and distorted perception of things in their lives. Art
represented the contemporary academic and cultured values of art. It also represents
a higher authority who has gone astray. Hence, Dada has been known to be “anti-
art”. Dada does not merely exist within the framework of an art form. Dada, to me,
is just like a spirituality or an attitude. It does not confine within the realms of a
painting, a sculpture or a poem. Dada is transcendent and posses the possibility of
manifesting in any form comfortable to the artist or suitable in the context.
Presently, Singaporeans lack interest and knowledge of the workings of their
Government. More often than not, they would rely on their sole source of information
spoon-fed to them through National Education – a product of the Government. As
such, most educated Singaporeans have handicapped in critiquing the Government
and the policies they have implemented. Furthermore, there are many strict laws set
in place, monitoring any form of Governmental opposition from the citizens.
Prosecution and imprisonment is the outcome for anyone who dare try. In such a
situation, even the most vocal and socially conscious citizens have been cowered into
silence.
All around we’ll notice that Singapore has taken a plunge into fast-paced
commercialisation. All around commercial areas have been identified and included into
the Big Plan. Old things are giving way for the spanking new. Commercial value takes
precedence over what Singaporeans consider as real tradition and culture. Culture
has been handpicked for tourist value. Prices of commodities are skyrocketing and
the economic divide has become so painful wide. Yet there is still a prevalent
materialistic culture among young Singaporeans today. Out of the blue, Singapore is
also teeming with the brand new permanent residents. With all these happening
around us, there is a pressing need for Singaporeans to speak out.
Dada presents a way out for Singaporeans who has a voice and the eagerness to say
‘No!’ to the vices set in motion by the Authorities within Singapore today. With the
exhibition, Singaporean artists take the lead in making their stand through their
artwork. Through the exhibited works, it is my hope that Singaporeans can become
aware of the larger scenario and spur within Singaporeans courage to speak up
before our society develops into one that we would not recognise anymore.
LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17
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VISION
To invite Singaporeans to critique their society out of the prescribed knowledge
taught to us through National Education
MISSION
· To introduce little known Dada cultural movement to Singaporeans
· To eradicate misconceptions of the Dada movement
· To inspire Singaporean artists in exploring the Dada expression
· To help Singaporeans identity and critique the sign of our present time at
this juncture of Singapore’s rapid commercialisation / urbanisation
VALUES
· Aiding Singaporeans in truly developing a sense of culture
through exposure and education
· To provide a medium for Singaporeans to express themselves
LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17
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COMMUNICATION OBJECTIVE
I hope that Singaporeans will be able to be inspired by the spirit of the Dada
movement (more specifically, Berlin Dada Movement) and what they were trying to
say as a community of artists to a society of materialism and decadence. Through this
exhibition, I hope to foster Singaporean’s awareness to what is happening in our
country and to promote social change in Singapore.
The information I would include in this exhibition consists of four parts – introduction
to the Berlin Dada movement, exhibition of John Heartfield’s artworks, an exhibition
of 10 art pieces by Singaporean artists and finally an interactive section where visitors
can make their own Dada art pieces.
In the introduction to the Dada movement, visitors will be immersed into the political
and social situation of Zurich, Switzerland in 1916 in an interactive multimedia setup
that will simulation the precarious situation then. After which, visitors will walk into
this little small bar called, Cabaret Voltaire where they will hear of Dada’s literary
inception in 1916 by poet Hugo Ball at the Cabaret Voltaire. At the simulated Cabaret
Voltaire, visitors will be greeted by a soundscape of sound poetry, manifestos and
experts from their periodicals to get a sense of Dada’s rationale and fundamental
beliefs.
Hugo Ball reciting Karawane at Cabaret Voltaire, June 1916
Walking out of Cabaret Voltaire, visitors will walk through a tunnel filled with images
of essential art pieces that will help visitors understand the spread of Dada to other
European cities, and eventually to Berlin. Artists featured here include Marcel
Duchamp, Kurt Schwitters, George Grosz.
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Berlin March, 1919
Following that, visitors will enter an office space that belongs to the Nazi party some
time in the 1930s. In that office, visitors will discover that John Heartfield is on the
Nazi’s secret list of enemies. On the office desk, visitors can read the biography of
John Heartfield and document on his life and why he had anglicised his name. In the
office would, of course, be an exhibition of the compelling images produced by Berlin
Dadaist John Heartfield. The central image that the exhibition will be built upon –
“This is the Peace They Bring” (1938) is introduced here. With these images, the
visitors would be introduced to the highly intense socio-political situation of Berlin.
The next section would draw the link between the situation between 1917 Zurich,
1919 Berlin and present-day Singapore. Visitors, after exiting the Nazi office, will
enter a dark room. This dark room will be divided into 2 sections – an inner space
and an outer space.
In this outer space that allows the visitors the walk around the border of the room,
fast-forwarded image of the various commercialisation plans and construction will be
projected all around. Weaved into the myriad of video images will also be how
important traditional buildings have been destroyed and the lives of the poor and the
outcast. A repeated image of scenes from the aerial display of the annual National
Day Parade ghosted with John Heartfield’s “This is the Peace They Bring” also be
projected. To complete the entire projection, there will be excerpts from the Prime
Minister and Minister Mentor put together like an eerie soundscape. Visitors will later
find a door which will lead them into the inner room where there would be an
exhibition of images produced by 10 Singapore artists of various disciplines who have
been inspired by the signature photomontage style of the Dada movement and are
eager to critique about Singapore’s rapid commercialisation.
Finally, the visitors would come to the last part of the exhibition, in a light-hearted
and relaxed environment where they are able to have a go at photomontage. Stacks
of old magazines and newspapers, scissors and glue would be provided for visitors to
cut up and stick together with whatever manner they like. There will be a wall where
they can put up their completed art pieces.
John Heartfield
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CONTENT
From John Heartfield
· “This is the Peace They Bring” (1938)
· “Adolf the Superman: Swallows Gold and Spouts Junk” (1932)
· “The Hand Has 5 Fingers” (1928)
· “Hurrah, The Butter Is All Gone!” (1935)
· “Blood and Iron” (1934)
· “As in the Middle Ages... So in the Third Reich” (1934)
· “And Yet It Moves” (1943)
· “The Cross Was Not Heavy Enough” (1933)
· “Don't Be Frightened. He’s A Vegetarian.”
· “The Meaning of Hitler’s Salute” (1934)
This is the Peace They Bring John Heartfield, 1938
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From top left:
Adolf the Superman: Swallows Gold and Spouts Junk (1932),
The Hand Has 5 Fingers (1928), Hurrah, The Butter Is All Gone! (1935),
Blood and Iron (1934), And Yet It Moves (1943),
As in the Middle Ages... So in the Third Reich (1934)
The Cross Was Not Heavy Enough (1933), Don't Be Frightened. He’s A Vegetarian,
The Meaning of Hitler’s Salute (1934)
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The central image, as mentioned earlier, is John Heartfield’s “This is the Peace They
Bring” because the image is frightening similar to the annual aerial display at the
National Day Parade. For me, it creates the important link between the situation in
1919 Berlin and present-day Singapore.
Singapore National Flypast of RSAF’s F16s By Stephen_AU ( www.flicker.com/photos/stephen_au )
Accompanying the 10 images by John Heartfield will be 10 art pieces by local artists
of various disciplines, inspired by the message and montage style of the Dada
movement, and also eager to share their opinions about the situation in Singapore
today. The artworks can be executed in the medium that the artists desire. The 10
invited Singaporean artists would be:
· Donna Ong – Interdisciplinary artist
· Jason Wee – Photographic artist
· :Phunk Studio – Digital media and graphic arts
· Oi Chai Hoo – Collage artist
· Christine Mak – Collage artist
· Hazel Leong – New Media artist
· Lim Tiong Ghee – Collage artist
· Eng Joo Heng – Printmaker
· Kay Kok Chung Oi – Painter
· Dr Chong Chee Pang – Mixed media collage artist
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MARKET POSITION
“Singapore Dada” would be held 8Q sam, the new extended contemporary wing of
the Singapore Art Museum.
8Q sam, 8, Queen Street
8Q sam, set at the side of the old Catholic High School, is a contemporary art space
wth fresh, multi-disciplinary, interactive and community oriented programming. Part of
8Q sam’s aims is make art accessible to all by allowing the public to interact and
experience the work and ideas of living artists. The featuring of local artists and their
expression in Dada will be the fulfilment of such an aim of the art space. Also a key
focus of this new art space is their desire to help Singaporeans understand the
historical, social and cultural context of the art of our time. “Singapore Dada” is a
historical exhibition that embraces the past. It is also an exhibition that speaks very
much about the present.
Under the baton of Ms Jane Ittogi, who supports experimental art forms and
possesses the openness for a diverse range of artistic expression, the marriage
between 8Q sam and “Singapore Dada” is impeccable. Having the exhibition at such
a conducive environment will facilitate both “Singapore Dada” and 8Q in achieving
the aims that we each have set out to achieve.
At the present moment, 8Q is having their inaugural exhibition titled “School”
featuring young contemporary Singaporean artists and their exploration of the theme
“school”. The works featured are unconventional new media art pieces.
Concurrently, 8Q also has an exhibition titled “Masriadi: Black is My Last Weapon”,
showcasing Indonesian artist Nyoman Masriadi’s paintings.
The last time there was an exhibition remotely related to the Dada movement was
back in 1997, at the Singapore Art Musuem. Dada art pieces from the Guggenheim
Museum were exhibitied alongside other Modernist art pieces.
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TARGET AUDIENCES
Primary target audience: Pre-university students to Undergraduates
(17 to 25 years old)
Secondary target audience: Young working adults
(25 to 35 years old)
Characteristics: Young and educated
To target audiences, the exhibition will provide for them a new perspective to the
current situation here in Singapore. In addition, the target audiences will learn of how
people responded according the conditions in their country, and witness how some
Singaporeans have responded similarly. Hopefully, this exhibition would inculcate
within them the desire to take interest in the governance and the planning of the
future of Singapore.
The measure of success of this exhibition will primary be based on the number of
people who will come to the exhibition since exposure is the main purpose of the
exhibition. To enhance this measurement is a short survey that visitors will be asked
to fill up after the exhibition. A free gift will be given for the completed surveys.
DELIVERABLES
World War I set: Tunnel-like setup with lighting
Motion-sensitive, multimedia projection of World War
War-time soundscape
Text and images of World War I
Cabaret Voltaire set: Small 1910s Swiss bar setup with lighting
Soundscape of sound poetry, manifestos and excerpts from Dada editorials
Transition Tunnel set: Text and images describing the spread and influence of Dada to other European cities
Selected images of art work by from Marcel Duchamp, Kurt Schwitters and George Grosz
Ambient lighting setup
Nazi Office set: 1930s Nazi Office setup
Aged biography of John Heartfield
Aged information of John Heartfield10 of John Heartfield’s art work
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Dark Room set: Room setup with two sections – inner and outer room
Video projection (inner room)
Soundscape (inner room)
Artwork from Singaporean artists
Fun Area: Room setup with tables and chairs
Old magazines and newspapers
Scissors and glue supplies
Gallery wall for placing art pieces
Invitation: An invitation in a postcard form (200mm x 140mm)
that will sent to various educational institutions that
cover the target audience group. The front side of the
postcard would be covered completely by Velcro. They
will be pieces that look like they are cut out from
magazines that can be removed and rearranged on
the invite.
Exhibition Booklet: An accompany booklet guide that serves a memoir of
the exhibition and provides additional information to
the visitor for their reference.
Other publicity materials: 1-spot colour full-page press advertisement on The Straits Times, The New Paper, Today and myPaper
Postcard advertisement with ZoCard
E-Mailer through Singapore Art Museum’s mailing list
Banner (5m x 2m) to be placed outside 8Q sam
Buntings (3m x 1m) to be placed around Art and Heritage district
Survey forms: For the purpose of evaluating the exhibition for
success and gain feedback for improvement
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BUDGET
CONSULTANTS Curator $5, 000
Editor $5, 000
Graphic Designer $8, 000
Exhibition Designer $8, 000
Multimedia Designer $8, 000
Sound Designer $8, 000
Photographer $5, 000
Web Designer $8, 000
$55, 000
CONSERVATION Art Conservation $10, 000
Equipment Maintenance $10, 000
$20, 000
INSURANCE In transit $5, 000
On premise $10, 000
$15, 000
CONSTRUCTION OF SET World War I set $2, 000
Cabaret Voltaire set $4, 000
Transition Tunnel set $2, 000
Nazi Office set $8, 000
Dark Room set $8, 000
Fun Area $3, 000
$27, 000
PUBLICITY PRINTING Invitations 800, 000 copies at $0.50 each $400, 000
Exhibition Booklet 4C cover, 1C content of 10pp 100, 000 copies at $1.20 each $120, 000
Survey Forms 100, 000 copies at $0.05 each $5, 000
$525, 000
ADVERTISING COSTS 1-spot colour display on The Straits Times 3 days at $20, 000 per day $60, 000
1-spot colour display on The New Paper 3 days at $12, 000 per day $36, 000
1-spot colour display on Today 3 days at $10, 486 per day $31, 458
1-spot colour display on myPaper 3 days at $12, 000 per day $36, 000
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Zo Cards 20, 000 pcs with distribution $3, 500
Large Banner $300
Buntings 50 pcs at $150 each $7, 500
$174, 758
TRAVEL Transportation $5, 000
Meals $5, 000
$10, 000
OPENING NIGHT PARTY Food and beverage $2, 000
Florists $300
Event Mgmt Crew $2, 000
$4, 300
GRAND TOTAL $1, 617, 078
SPONSORSHIP
“Singapore Dada” will seek the sponsorship of the National Arts Council for their
Presentation & Promotion Grant.
This grant will aid individuals or non-profit organisations who are organising activities
that will promote and display Singapore’s cultural and artisitic diversity and vibrancy.
The amount for each grant will not exceed $50, 000 per financial year. The contact
person for the visual arts cluster in National Arts Council is Nadia Ng (Contact
Number: +65 6837 8465).
SCHEDULE FOR “SINGAPORE GAGA”
13
01OCT
15OCT
01NOV
15NOV
01DEC
15DEC
01JAN
15JAN
01FEB
05FEB
CONCEPTUALISATION STAGE
Exhibition planning
Seeking sponsorship & venue
Laising with artists & for artwork
Opening party planning
DESIGN STAGE
Designing of graphic identity
Exhibition & set design
Multimedia & sound design
Web design
Copywriting for exhibition
PRODUCTION STAGE
Construction of set
Photography of exhibits
Production of all promo materials
PUBLICITY STAGE
Installation of banners & buntings
Distribution of invites
Laise with press for advertising & opening party coverage
EXHIBITION STAGE
Installation of set & artwork
Final check
Opening Party
1 Oct – 5 Oct
5 Oct – 10 Oct
5 Oct – 10 Oct
10 Oct – 15 Oct
10 Oct – 25 Oct
25 Oct – 20 Nov
25 Oct – 20 Nov
25 Oct – 20 Nov
1 Nov – 10 Nov
20 Nov – 1 Jan
15 Dec – 1 Jan
15 Dec – 1 Jan
15 Dec – 1 Jan
1 Jan – 20 Jan
20 Jan – 1 Feb
20 Nov – 1 Jan
20 Nov – 1 Dec