strategies towards the real - · pdf fileand contemporary indonesian art, ... not only...

July 2008 | NUS Museum newsletter | 1

1 Strategies Towards the Real

3 The Blacksmiths’ Alchemy

5 Printmaking in Art

6 Artist Residency &

Exchange Programme

8 Juliana’s Reflections

9 Our Art Guiding Course

@ NUS Museum

10 Snapshots

12 Upcoming Exhibitions

& Events

EDITOR

Lim Nam Leng

CONTRIBUTORS

Juliana Chan

Jesslyn Chua

Foo Su Ling

Shalina Latiff

Karine Tan

Mag ‘Thatcher’ Chua

Joan Yap

ADVISORS

Christine Khor

Ahmad Mashadi

…inside

THIS ISSUE

n e w s l e t t e r . i s s u e 3 . j u l y 2 0 0 8

Strategies Towards the Real Shalina Latiff Faculty of Arts and Social Sciences, Year 2 Secretary, Southeast Asian Studies Society

“Realism does not belong solely to the West. Realism is the

common heritage of mankind.”

These two lines hit me the hardest while viewing Strategies Towards the Real: S. Sudjojonono

and Contemporary Indonesian Art, an exhibition showcasing works by S. Sudjojono and 14

other Indonesian artists. The exhibition aims to explore the ways in which artists, or even the

common layman, views reality. Sudjojono, often referred to as the father of modern Indonesian

art, was very concerned with the presentation of the ‘real’. In his own words, “I am God’s child, I

am the child of truth.” We are taken on a journey that details how perceptions and attitudes to

the real have evolved over time.

The journey begins with a stark comparison of two pieces by Sudjojono and I Nyoman Masriadi,

a contemporary Indonesian artist. Sudjojono’s work, Siip Dalam Segela Cuaca, 1980 (Fit Under

Any Kind of Condition) details the hardiness of Indonesians and their ability to survive under

any condition, while Masriadi’s work, Uang Segar, 2007 (New Money) shows an entirely

different side to the Indonesian economy. Both are reflective of their time, the economic

conditions faced by Indonesians and even state the artists’ political stands.


This theme is carried on throughout the exhibition. Curator Wang Zineng effectively places complementary pieces side by side such

that they provide a self-contained commentary for visitors. This is particularly evident in two pieces entitled Maka Lahirlah Angkatan ’66

(So Was Born The ’66 Generation) and Maka Lahirlah Angkatan ‘90an (So Was Born The ‘90s Generation) by Sudjojono and Agus

Suwage respectively. The latter also shows how influential the work and philosophy of Sudjojono were to contemporary artists.

I particularly enjoyed the wide range of mediums used in the artwork displayed. Not only traditional paintings were compared to the

works of Sudjojono, but forays into sculptures, installation pieces and video content were showcased as well. It was interesting to see

how artists influenced by Sudjojono’s work branched out using techniques he himself never experimented with.

The beauty of this exhibition is that one does not have to be an art aficionado to appreciate it. Sudjojono himself believed that art was

something to be enjoyed by the common people. His contributions to Indonesian art have far outlived him.

Viewing Maka Lahirlah Angkatan ’66 by S. Sujdjojono. Maka Lahirah Angkatan’90an by Agus Suwage, an appropriation of Sudjojono’s earlier work, projects a prosperous period for Indonesian artists.

Eko Nugroho ‘s Tahun-tahun Emas (The Golden Years), 2008

S. Teddy D., Gerakan Art Merdeka (Independence Art Movement), 2007

Taring Padi, Festival Memedi Sawah (The Scarecrow Festival 1999), 2008

Abdi Setiawan’s Asongan, 2008 (above) is Shalina’s (extreme right) favourite piece from the exhibition.


The Blacksmiths’ Alchemy Mag ‘Thatcher’ Chua Mag has been at NUS Centre For the Arts & NUS Museum for over a year, working on special projects. She has an interest in relating the arts and culture to ways of understanding the world and human nature.

Iron Man was recently released in Singapore, to the delight of Marvel Comics followers. True to his comic book identity

and reputation as an MIT graduate at 17, Tony Stark or his alter ego, Iron Man, exhibited inventiveness and ingenuity.

He creates an armour suit granting him near-invincibility, devises technological improvements, and escapes wily villains.

With the setting of the Vietnam War in the early years of the comic fast forwarded 40 years to the fear of terrorism

presented in the film version, Iron Man of course eventually saves citizens on earth from terror and destruction.

A great interpretive point into the history of ferrous metallurgy and the properties of iron, Iron Man reflects the origins of

iron in the creation of weapons for wars since ancient Egypt, the inventiveness of man in ironworking in the Iron Age,

and its use by historians and archeologists to uncover the rhythm of social life in the civilizations of India, China and

medieval Europe.

Around the time that Iron Man was released, The Blacksmiths’ Alchemy wrought its way into Singapore, received by a

somewhat similar whirl of excitement. The driving interest of the exhibition, at a personal level, hinges on an individual’s

inquiry in the style and material of iron sculpture construction, setting into motion the capacity for three younger

contemporaries of Julio Gonzalez to express their sculptural interests in abstraction, the Guanche culture and the urban

city, through iron and other metals. Through their explorations, we have a glimpse of their influences and aesthetic

sensibilities, and hints of sociopolitical concerns in the years under Franco and Spain’s transition to democracy with the

attendant shifts in urban life and social norms.

For a few months in Singapore, my attention is drawn by cultural forms calling for prominence of a humble metal

originating from the earth, which in doing so, reinstates man’s inventiveness in experimenting and creating works which

are ingenious in form, purpose and aesthetics.


Openings at NUS Museum…

L-R: Karen Lim, Jaime Morate from SEACEX and Juan Bria, Director of Internal Affairs, Valencian Institute of Modern Arts, IVAM

L-R: Chia Lay Yong, Foo Su Ling, Assoc Prof John Miksic and Helen Reid.

L-R: Yeow Ju Li, Karen Lim, Ahmad Mashadi, Mrs Jara, HE Antonio Sánchez Jara, Ambassador of Spain, Christine Khor and Miriam Padilla

Guest of honour Mr Kwee Liong Keng (in red tie) is flanked on his right by Sudjojono’ widow Rose, Ms Christine Khor, Maya (Rose and Sudjojono’s daughter), and curator Wang Zineng.


Printmaking in Art Joan Yap Joan Yap is a retired corporate executive. Since her retirement, she has been involved actively in the arts. She wrote stories such as The Nanyang Artists of Singapore and The Nyona Kebaya for the Friends of the Museum and contemporary art features for lifestyle magazines. As a trained docent for the Singapore Tyler Print Institute, she has guided art tours for the past two years. To many people, the term ‘print’ is associated with large quantity commercial reproduction of original material such as paintings and manuscripts into posters and books. Yet printing is very different from printmaking in that the former makes copies of an original and the latter makes original copies. Printmaking has a long history dating to cave art but it was with the invention of paper by the Chinese about 2,000 years ago that messages and pictures can printed on a durable medium. However it was only in 15th century when European printing presses were introduced that printmaking was applied as an art form. Prior to that, printmaking was used as a communication tool to spread information to the masses. NUS Museum Prints Now on Show Lim Mu Hue Backstage of a Puppet Theatre Woodblock Print on Paper See Cheen Tee Matchmaker Wookdblock Print on Paper

Sulaiman Esa Waiting for Godot (Red) Photoetching on Paper

There are four principal printmaking techniques – relief, intaglio, silkscreen and lithography. In relief printing, the surface of a wooden or linoleum plate is cut away to reveal only the areas to be printed. Ink is then rolled on the surface and the image transferred onto paper either by passing the block through a press or rubbing it by hand or with a spoon. Relief prints are characterized by bold dark-light contrasts. An example of relief printing is the imperial seal of the first Chinese emperor which was a relief made on a jade stone. The famous 17th Century Japanese Ukiyo-e woodblock prints were also produced using the relief printing technique. Intaglio comes from the Italian word intagliare, meaning “to incise”. The image to be printed is cut into a metal plate (copper or zinc) using a sharp tool (engraving) and acid (etching). Ink is then wiped into the incised grooves of the plate. A dampened piece of paper is placed over the plate and run through an etching press to produce the print. An easy way to tell an intaglio print is to look for the distinctive platemark on the paper. The European art masters from the 15th to 18th Centuries such as Dürer, Rembrandt and Goya were prolific printmakers, especially fond of producing intaglio prints. Silkscreen printing is essentially a stencil process. A fabric mesh (screen) stretched over a frame is placed on top of a sheet of paper. The screen is blocked with a stencil. Ink is then dragged over the screen using a rubber squeegee, forcing its way through the unmasked areas onto the paper beneath. Most screenprints are made up of a number of layers - with each stencil allowing a different element or colour to be printed. In the 1960s pop artist Andy Warhol used silkscreen printing to ‘mass-produce’ his art. Lithography works on the principle that oil and water do not mix. Lithographs can be made on slabs of limestone or sheets of aluminium or mylar. The artist draws on the surface using a greasy medium, such as a wax crayon. The surface is then treated to chemically etch the image. Ink is rolled over the surface. The ink sticks only to the greasy sections and water is used to clean off the rest of the surface. The stone or plate is then covered with paper and run through the press to produce a print. Pablo Picasso, Henri Matisse, Edvard Munch and Wassily Kandinsky are among the many artists who have produced lithographs as part of their oeuvre. Artists today combine the various techniques to compose and create print artworks. Though multiple print copies can be made, the quantity is always controlled to a specified number known as an edition. The artist decides how many prints to produce and signs on every copy of the print edition to authenticate its originality. Once the number of prints in an edition is completed, the printing plates are destroyed and no more copies can be made. In the past 50 years, art prints have evolved greatly with the use of improved techniques and equipment. An art print can now produce layering of images, colours and textures that painting cannot achieve. Most significantly is the discovery by artists that printmaking allows them to explore, experiment and express their creativity differently.


Artist Residency & Exchange Programme Foo Su Ling Manager, NUS Museum

The Artist Residency and Exchange Programme (REAP) was organised by art gallery, Artesan Pte Ltd with the aim of providing interaction opportunities for young artists from different nationalities and cultures. Six artists – Iggy Rodriguez, Buen Calubayan and Ivan Roxas from The Philippines and Joshua Yang, Jeremy Sharma and Wong Lip Chin from Singapore – led by Filipino Emmanuel Garibay participated in this exchange. Facilitated by NUS Centre For the Arts, the Singapore section of the residency took place at NUS CFA Studio from 9 to 30 May 2008. Project leader Emmanuel (Manny) and two artists, Ivan and Jeremy, share their impressions. With this rather diverse group of artists and most of them meeting each other for the first time, what were the challenges encountered? Manny: One of the first things we had to do was establish harmony by developing awareness amongst the artists of each other’s styles. Artists generally welcome the opportunity to create and differences in cultures can have the aspect of enriching them. The challenges were more external such as working with available studio space and optimizing interaction in view of the work commitments of the Singapore artists.

From left: Jeremy Sharma, Buen Calubayan and Emmanuel Garibay.

Jeremy: Some adaptation was required. We had envisaged a more freeflowing programme and did not anticipate such a large amount of interaction time where all artists were encouraged to work in the same space and participate in the site/gallery visits set out in the itinerary. For an artist, personal space is important and when we are all cramped together, things can get edgy. Ivan: I normally work overnight but studio time for the residency was in the day so sometimes I could not paint because of tiredness and the heat, but we still pushed on due to the short time. Sometimes, paintings need to be viewed from afar to get a better feel but it was not always possible because of the limited space. What was the process like for this residency? Manny: Ideally, it would be to experience Singapore and respond to various contexts. Realistically, though, three weeks is not sufficient for such an engagement and this was also not specifically laid down as a requirement. So we did not set any preconditions and instead encouraged artists to explore some ideas in the course of the residency. Jeremy: It would be better if at the onset, clearer objectives, some kind of structure and the expected end results were laid out. [As we did not know what to expect] It was quite stressful because of the time constraints.


What inspired the mural? Manny: The Filipino artists used the bus regularly to travel to the studio and other places. This gave us a chance to observe Singapore. Many Singaporeans also take the bus so we used it as a metaphor for a common experience shared by both the Filipino and local artists. We did not delineate spaces on the canvas for each artist or predefine what to paint. Each person was free to find his own blank space or work over what someone else had painted. The unifying theme was the bus. This freeflowing structure can be interesting in adding different dimensions to an artwork, but it also has the danger of losing visual coherence because each artist exercises an independent visual judgement of what to put in.

Iggy Rodriguez (centre) and Ivan Roxas (right) working on the mural How has the group benefited from the residency? Jeremy: The conditions took us out of our comfort zone to learn new things. Participating in a residency is good experience wherever you go because learning about culture is important for art. It opens our eyes and helps in our outlook. Ivan: We needed to respect other points of view, look at body language and also test the water to assess what the other person may be thinking. We had to be considerate and anticipate the space to leave for other artists based on what we know about them. As we did not see everyone often, trying to sense how the other person would respond to various ideas was challenging and sometimes stressful. Manny: There are not many residencies of this nature where interaction is a key factor and artists are asked to work in a shared space. It can be stimulating to create in a new environment and more so with other artists around.

Ivan with his self-portrait in the background.

Ivan: I painted the two faces on the lower right corner of the mural. There are trees growing around the faces and there are mynahs - I’m a nature lover and when I think about Singapore, I think about all the trees and nature here. When I came to Singapore the last time [in 2001], there were many crows but this time, I noticed more mynahs Jeremy: I didn’t see so much of the bus on the mural but noticed that the images done by the others were already very strong and rich. I didn’t want to add more figures and used text instead. The texts do not describe anything, they are used to illustrate the idea of ‘thoughts’. I’m interested in paintings that are open to interpretations.

Ivan, can you tell us a bit more about this self-portrait? Ivan: The studio was quite warm and eventually I found the bathroom [in the studio] to be the coolest place for me to work. So the bathroom was my space and this painting is a reminder of the time I was there, it was like a comfort room. The squares in the background are the tiles on the bathroom wall. At this point, are there any thoughts about how the residency in Manila will be like? Manny: It’s the rainy season so some convenience may be compromised. Even so, it should be easier and more fun because the familiarisation has already started here. We will take the Singapore artists to places that can stimulate the imagination and also visit people, but it will be flexible. We will not discount suggestions that take the group on a different turn as what is important is how this experience will enrich the participants. Just like we did here, there will be individual and joint projects. It will be interesting to observe if there are differences in the way the group works in a different environment.


Juliana’s Reflections University Scholars’ Programme – Architecture Exhibition Site, Situation, Spectator

L-R: Juliana Chan (centre) with fellow exhibitors Hanan Alsagoff (on her right) and Debbie Loo.

Site, Situation, Spectator was held from 7 March to 7 May 2008, showcasing the research projects of four University Scholars Programme (USP) students from the Department of Architecture. The exhibition was incorporated into the USP Advanced Module curriculum of these Architecture students, and jointly organised by NUS Museum, Department of Architecture, and USP. The student projects on display demonstrated the complexities of merging creativity within space through thorough research. The exhibition saw the successful forging of a relationship between architecture and art in the research works of USP students. Here, Juliana Chan, one of the four USP Architecture students, shares with us her experience. ‘This exhibition provided a great opportunity for architecture students like me to instil creativity and fun into our concepts and knowledge gathered from both USP and architecture course, such as responsiveness to site. Through a year of critical thinking and conceptualisation, we were to crystallise the essence of our own theme, and understand how it should be presented as a clear visual statement, that is, doing small things but speaking big ideas. We have realised how much we have trapped ourselves in our own ideas and concepts such that, more often than not, we fail to understand how a good piece of art, installation or architecture is able to communicate with diverse groups of viewers in the simplest yet most effective way. The whole learning experience has been enlightening as it is very relevant to the approach of understanding and doing architecture. This exhibition installation has given me an opportunity to merge ideas and concepts learnt from USP courses, and knowledge and interest from architecture, then executing them into a physical object. It has been very challenging as we tried from visualisation of the final form to the realisation of that visualisation. I have enjoyed the whole process making the installation, making discoveries along the way, and witnessing the play of planned and unplanned situations – a phenomenon relevant to my theme. In addition, we have to be independent in getting our resources and suppliers, thus we are totally responsible for our own schedule as well as the schedule of the contractors and suppliers. Though this was a small project compared to building construction, we got a hands-on experience in communicating and relating our ideas to people from other industries. However, we regretted not being able to make it in time for the NUS Arts Festival this year, as it would have made the exhibition even more meaningful. Secondly, due to the lack of funds, our execution of installation went through several rounds of revision so as to fit into the budget parameters. This has caused certain lag in our process of finding resources and executing the installation. Judging from the passion and amount of time we spent on conceptualising and discussing physical aspects of our installations, I felt it a pity many ideas were discouraged and cut down simply due to financial issues. I would like to express my gratitude to our USP coordinator Dr Lilian Chee (Dept of Architecture) for going beyond her role and taking part in the process of this project by giving us valuable guidance and advice. Her understanding and concern for our welfare have been very comforting and encouraging. I would also like to thank Mr Ahmad Mashadi, Ms Noorashikin and Ms Lim Qinyi from NUS Museum for providing ideas and feedback on how to do a proper exhibition. This project would be impossible without the support from USP, Department of Architecture and NUS Museum.’ Juliana Chan Sok Yin going Year 5 Masters of Architecture

Juliana’s installation – a collage of maps incorporating her travels and her interpretation of the map as a subjective tool in defining space.


Our Art Guiding Course @ NUS Museum Jesslyn Chua and Karine Tan Nan Hua High School Students Ten members from the Art and Design Club went for a four session training course in guiding at NUS Museum. The main objectives of this course were to expose us to the artworks of local artist, the late Ng Eng Teng, and to encourage a deeper appreciation of the arts. It was also hoped that this course would build up greater confidence so that we can promote art among our peers. During the training, we interacted and had discussions with keen adult volunteers, many of whom had experience in guiding. Being the youngest among the participants of the course, we were privileged to be trained by the curator of the Collection, an experienced museum guide as well as a practising artist. This course was indeed educational and fruitful to many of us.

A practical lesson in guiding conducted by the curator, Foo Su Ling.

Artist Kelly Reedy talks about visual elements and art styles in sculpture.

Helen Anco from Friends of the Museums imparting invaluable guiding skills.

‘The course taught me that guiding an art collection requires hard work like reading up and knowing how to present the information in an interesting way so as to engage the audience. The guiding experience is both a challenging and fun one.’

Wei Qi ‘I have learnt how to guide a group confidently and at the same time, I managed to bond with other members from the Art and Design Club. I believe this course has inspired many of us to promote art among our peers and share our passion for art too.’

Karine

‘This course has shown me that there is more than one way to perceive an artwork, such as understanding the background and emotions of the artist’.

Pearlyn ‘The course had taught me how to understand artworks better. Through the process of guiding, I got to understand the artwork and the artist in a deeper way . I have also become more confident in my communication skills.’

Chen Yun


Snapshots…

18 Jun Datin Seri Dr Wan Azizah, Member of Parliament for Permatang Pauh, Malaysia (centre) visits NUS Museum with her daughters, Nurul Iman and Nurul Hana. She was greeted by Christine Khor and Ahmad Mashadi.

18 Jun Prof Susan Rodgers from the Anthropology department of the College of Holy Cross, USA visited NUS Museum to explore potential opportunities and models of developing a new summer program in Southeast Asia.

28 May Dr Liu Thai Ker (centre) taking a closer look at Julio González’s Chrysanthemum Flower at The Blacksmiths’ Alchemy exhibition. Accompanying him are Christine Khor (left) and Karen Lim.

25 Jun L-R: Ahmad Mashadi,Head, NUS Museum, HE Janne Julsrud, Ambassador of Norway and Christine Khor, Director, NUS Centre For the Arts.

31 May Montage 2008 Seminar Guest-of-honour Assoc Prof Tan Ern Ser officiates at the Opening of Montage 2008 Seminar. On his right is Prof Leo Tan Wee Hin, Honorary Advisor of The Photographic Society of NUS (NUSPS), and on his left Neo Ming Feng, President of NUSPS. Montage, an annual photography competition organized by NUSPS, received 750 entries this year. Selected works will be exhibited at the National Library (24 - 31 July) and NUS Museum (2 - 24 Aug)


31 May International Museum Day

A series of programmes was held in conjunction with International Museum Day. Sandra Fie introduced ways to manipulate acrylic into basic rings and pendants. Julie Ross talked about how recycled metal, glass, plastic and other everyday objects are used to make 3D jewellery. Visitors went on a guided tour of The Blacksmiths’ Alchemy to explore the works of Julio González and three other Spanish artists who are masters in the innovative transformation of metals to objects of beauty including jewellery. They also got to see the fascinating development of Chinese ceramics through the ages on a tour of Ways of Seeing Chinese Art.

Original creations from the Jewellery Workshop.

Docent Joan Wilson-Chan (facing camera) chats with visitors before leading the tour on Ways of Seeing Chinese Art. Julie Ross (centre, standing) shares how recycled

materials can be used to make 3D jewellery.


Upcoming Exhibitions & Events Archives and Desires: Selections from the Mohammad Din Mohammad Collection 22 Aug to 23 Nov 2008

This is an exhibition conceived to explore aspects in modern Malayan art and museological discourse through the life and works of the late Malayan-born artist Mohammed din Mohammed. Based on ethnographic work conducted at the artist's homes in Singapore and Malacca, the exhibition seeks to explore the complex power relationships between the hegemonic museological processes of 'archiving cultures', the ambivalences in engaging 'source communities' commonly represented by artists and patrons and the discriminating gaze of the museum curator which entails an 'aesthetic of perception' in enabling the significant to be lifted out from mass detail.

Baba House 157 Neil Road From Sep 2008

Baba House, managed by NUS Museum, opens as a Heritage House this September 2008. This rare Straits Chinese architectural icon has undergone archaeological study and major restoration to its structure and its interiors. Visitors will be impressed by ornate carving and other definitive decorative embellishments of the time as well as its collection of traditional furniture, some belonging to the original owners of the house. Take a step back in time, 1928 specifically, and experience first-hand how a wealthy Straits Chinese family would have lived, and how they would have used some of these precious samples of material culture in their everyday life. Find out about their eclectic tastes and their traditional practice as you explore the first two floors. On the 3rd floor, look forward to temporary exhibitions, some of which may include contemporary art exhibitions which reflect and explore Straits Chinese culture, its origins as well as its hybridity and other related issues. Baba House is dedicated to research into the Straits Chinese, and invites proposals from NUS faculties

Photo: Chris Yap Opening Exhibition – A Psychotaxonomy of Home Sept 2008 to Feb 2009 The opening exhibition deploys the contemporary art practice of Michael HH Lee, as he explores origins of the house coupled with archaeological research findings from the house through site specific installations. The exhibition calendar of Baba House will include exhibitions of new media, photography, private collections as well as two and three dimensional work that explore Peranakan issues. Due to conservation concerns, visits are by appointment only. Admission is free, but a heritage tour fee of $10 applies to all visitors. NUS lecturer-led visits with students enjoy a 70% discount. Please check website for details (www.nus.edu.sg/museum/baba/index.html) or email [email protected]. Montage 2008 24 - 31 July 2008 Central Lending Library, National Library Building, Level 7 Promenade 2 - 24 Aug 2008 NUS Museum

Montage is an annual photographic event organized by The Photographic Society of NUS. It provides an opportunity for students from secondary schools, junior colleges, tertiary institutions, various fine arts colleges as well as members of the public to come together to develop and nurture their interest in photography. Montage 2008 comprises a series of events including a photography competition, seminar and exhibition. Into its 10th year, the theme for this year’s competition is “Tension”. The aim of Montage 2008 is to let photographers learn more and gain valuable insights into the various aspects of photography. Selected entries are exhibited at NUS Museum, National Library and The Photographic Society of Singapore.


Ventura: Recent Works 5 Sep - 16 Nov 2008

Filipino artist Ronald Ventura uses the human body to explore subjects such as commodification of humans, paranoia and religious consciousness. His hyperrealist paintings are created mainly in graphite on canvas. The artist’s studies are also expressed in sculptures and assemblages. Ronaldo Ventura was born in 1973, studied painting in the Philippines College of Architecture and Fine Arts, University of Santo Tomas, Manila, where he now teaches. This is a two-part project starting with Ventura’s works providing a dialogue with Ng Eng Teng’s creations at NUS Museum. Ng (1934 – 2001) was interested in issues of humanity and used the human figure widely to express the dilemmas in life and the challenges imposed on the human spirit. The second part of the project is a collaborative effort between Ventura and Singapore artist Francis Ng (exhibition venue to be confirmed); it represents a fusion of ideas from two professionals of different cultural background, each with a strong individual style.

The exhibition will be presented during the period of the Singapore Biennale. The exhibition is presented in conjunction with a permanent display of works from the Museum's Ng Eng Teng Collection, a donation from the late Singapore modern sculptor consisting of sculptures, paintings and drawings. Bound for Glory: Wong Hoy Cheong 2002 - 2007 12 Sep - 30 Nov 2008

Wong Hoy Cheong is one of Southeast Asia’s most influential contemporary artists whose practice is conditioned by multiple and simultaneous contexts of history, memory, nation, globality, ethnicity, culture and political contingencies. The exhibition Bound for Glory presents Wong Hoy Cheong's five recent works Re:Looking(2002-2003), Anthem(2006), Chronicles of Crime(2006), Suburbia: Bukit Beruntung, Subang Jaya(2006) and Oh Sulukule, Darling Sulukule (2007) .

Born in 1960 in Georgetown, Malaysia, Wong’s practice is interdisciplinary, involving areas such as drawing, installation, theatre/performance and video , and often reveals the artist’s interest in historical, social and aesthetic issues. His works have been exhibited at the National Art Gallery (Kuala Lumpur, Malaysia), Pitt Rivers Museum (Oxford, UK), Kunsthalle (Vienna, Austria), Museum of Contemporary Art (Taipei, Taiwan), the Guangzhou Triennial (2005, China), Liverpool Biennial (2004, UK), 50th Venice Biennale (2003, Italy), and more recently at the Istanbul Biennale (Sep 2007). The exhibition will be presented during the period of the Singapore Biennale, with additional support provided by Valentine Willie Fine Art. It is also presented as part of the Museum's NX Gallery programme, a space conceived as a contemporary art venue to showcase emerging artistic trends in Singapore and beyond, as well as to encourage critical curatorial and museum practices. Past exhibitions organized at the NX Gallery include Picturing Relations: Simryn Gill and Tino Djumini (May 2007), We (July 2007), and Reconfiguration: Chinese Contemporary Art (December 2007).

CONTEMPORARY ASIAN DANCE IN SINGAPORE A Talk by Dr Caren Carino Wednesday, 3 Sep 2008, 6.30 – 7.30pm Celadon Room, NUS Museum Free admission. Email [email protected] to register

In recent years, contemporary dance in Singapore has become a vehicle for the expression of the ideals of modernism. The eventual emergence and development of the dance form in Singapore sets an exciting but controversial ground for artistic creation due to the dilemmas and complexities that surround it. To date, contemporary Asian dance forms have not evolved homogeneously throughout Asia largely because its transference from the West has sometimes not been totally recognized. This insightful talk by Dr Caren Carino, Head of Dance, Nanyang Academy of Fine Arts, and President, World Dance Alliance (Singapore), focuses on contemporary Asian dance, touching on the above issues and particularly of performance expressions of “Asianness” through the creation of different contemporary dance forms by selected Asian artists based in Singapore.


SERIES OF PHOTOGRAPHY TALKS August – October 2008 Free Admission Register at [email protected] Wed, 27 Aug JASON WEE 6.30 – 7.30pm│Celadon Room, NUS Musuem

Jason Wee will present his works alongside the works of other photographers who have

influenced him. He will discuss how the study of nature is presented in his series of photographs.

Wed, 17 Sep CHRIS YAP 6.30 – 7.30pm│Celadon Room, NUS Musuem

The images of nature are captured by photographer Chris Yap and the theme of preservation is explored in depth. "Nature and mankind are complex subjects. Despite our differences, we still need to go through the same cycle of life - from birth, to maturity and eventually

death. Through 'Preserved Nature', I hope to convince viewers that every moment with nature is a moment worth preserving." Chris Yap will discuss how nature and man are explored in his work. Wed, 22 Oct SHERMAN ONG 6.30 – 7.30pm│Celadon Room, NUS Musuem

Sherman Ong has always been interested in the human condition – living, dying, forgetting and longing – and how we regulate and organise our

lives and our environment. The idea of coping with, harnessing or controlling Nature, and how it intersects with Human Nature in our quest to regulate our lives – in particular, the social / private spaces in a built urban environment – has always been an interest and a recurring theme in Sherman’s work which he will discuss.

SYMPOSIUM Locating the Modern Artist: Exhibitions, Museum and the Market Tue, 19 Aug 2008 10am to 4pm │NUS Museum S$15 General Public │ S$10 NUS student and staff Register at [email protected] Through specific case studies, guest curators will introduce recent exhibitions in Indonesia and Singapore that deal with the issue of Indonesian and SEAsian modernity and contemporaneity and possibilities towards an autonomous Southeast Asian art history. Speakers will address the operational mode and intersections between the museum, independently run art and research centres, art market and academia today, pondering on roles and functions of each arena, type of institution and synergies that can take place between them. NUS MUSEUM OPEN HOUSE Thur, 21 Aug 2008 5 to 9pm All are Welcome Register at [email protected] Exhibition Tours / Talk Art Appreciation Talk {5 – 5.45pm} Singapore Woodblock Prints of the 1950s and 1960s Ways of Seeing Chinese Art {6 – 6.20pm} Lee Kong Chian Collection Launch of New Exhibition Archives and Desires: Selections from the Mohammad Din Mohammad Collection {7.30 – 7.50pm} Archives and Desires: Selections from the Mohammad Din Mohammad Collection {8 – 8.20pm} Sculpting Life: The Ng Eng Teng Collection Tour {8.10 – 8.30pm} Performances Travellators - Avante garde ethnic fusion band {6 – 6.30pm} The Shaman’s Cat {6.30 – 6.40pm} In the Ashes {7 – 7.10pm} Department of Dance, Nanyang Academy of Fine Arts Devotional Music on Sitar and Tabla {7 – 7.20pm} NUS Stage {7 to 7.20pm} NUS Chinese Dance {8.30 – 8.45pm} Members of NUS Centre For the Arts Welcome Tea │Free Henna Painting │Lucky Draw

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