Académique Documents
Professionnel Documents
Culture Documents
JUNE 2011 / 1
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CONTENTS
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20
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17 32 50
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Issue #20 | June 2011
ISSN 2010-4375 / MICA (P) 252/09/2010
www.thepocketartsguide.com
On the Cover
Ren Zhe: Black Tortoise, Bronze 200 x 140 x 100cm
Editor-in-Chief
Remo Notarianni / remo@thepocketartsguide.com
Art Director
Amalina MN / ama@thepocketartsguide.com
Contributors
Gladys Teo, Bharti Lalwani, Jason Toh, Clare Eltringham
Advertising Sales
sales@thepocketartsguide.com
General enquiries and feedback
mktg@thepocketartsguide.com
All editorial, design requests, advertising bookings and materials for May issue
of TPAG should be received by 10th June 2011.
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JUNE 2011 / 7
Editor’s letter
Dear Readers,
The June 2011 issue of The Pocket Arts Guide (TPAG) continues to
have its finger on the pulse. TPAG appears to be growing issue by
issue in an art world that has a lot more to offer than it did a few
years back. This issue is full of artists and gallery owners with a
verve for the dynamic and the different.
This issue, In the Frame features Chinese artist Ren Zhe who sculpts
profiles of the spirit that cross aeons. We also have an interview
with Singaporean gallery owners Utterly Art who reflect on ten
successful years and look forward to more. The ‘Story’ in this issue
is about the visual language of the spirit understood by Australia’s
Indigenous people.
Remo Notarianni
Editor-in-Chief
8 / TPAG
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Recycle.
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ART WIRE
JUNE 2011 / 11
ART WIRE
The net proceeds from the sale of art pieces will be donated
to SLEC – Ayer Rajah Centre. In order for SLEC – Ayer Rajah
to operate smoothly, it requires at least $469,000 to fund its
operation for the first three years.
Art from the heart
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ART WIRE
Liu Xuanqi draws inspiration for his abstract oil paintings from
oriental philosophy but expresses it using western methods.
His artwork presents the East being polite and reserved and
the West as being bold and ‘Wild’. The two seemingly oppos-
ing cultures are combined to promote an “East as substance,
West as the form” philosophy.
01.04.11 - 26.02.12 It is with this abstract signature that Liu depicts a modern glo-
The Volvo Art Loft balised world. As East and West interweave, his images have
249 Alexandra Road, 2nd floor a significance that is increasingly relevant in the 21st century.
Singapore
JUNE 2011 / 13
ART WIRE
27.05.11- 04.06.11 Ng’s artworks always contain strong references to the identity
Blindspot Gallery and lack of identity of Hong Kong as a former British Colony.
www.blindspotgallery.com Her works also address issues of femininity and female sup-
Hong Kong pression.
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ART WIRE
“We see a man paint with violent colors. He’s kneeling down
on one knee as he paints. The air surrounding him is filled
with so much tension that it looks as if he’s ready to jump into
an emotional sprint.” This is how Korean artist Suh Yong Sun
describes himself as an artist.
The folds and twists within the pieces and the gravity-defying
positions, generate an illusion of weightlessness, contrasting
with the qualities of the glass and substantial weight of the
sculptures. Cathie’s composition of forms also creates an ar-
Christine Cathie — Evolve ray of tones and depth of colour.
17.06.11- 25.08.11 Being a selected finalist for the Ranamok Art Prize in 2002,
Koru Contemporary 2003, 2004 and 2006, and with work in the collections of
www.koru-hk.com New Zealand’s Ministry of Foreign Affairs, the Glasmuseet-
Hong Kong Denmark and Sir Elton John, this is a rare and exciting op-
portunity for collectors and enthusiasts alike.
JUNE 2011 / 15
ART WIRE
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ART WIRE
JUNE 2011 / 17
ART WIRE
It will also, for the first time, showcase the works of famed
Nanyang pioneers Cheong Soo-Pieng (1917-83), Georgette
Chen (1906-93), Liu Kang (1911-2004) and Chen Wen Hsi
(1906-91). Another gem is Rise Above It, an acrylic on canvas
from the late Datuk Ibrahim Hussein.
Henry Butcher Auction
of Malaysian Art The Auction will be held at White Box, MAP @ Publika, Kuala
Lumpur 19 June. The full viewing of 105 artworks will be held
28.05.11 — 19.06.11 at White Box, MAP @ Publika, Kuala Lumpur from 28 May -
White Box, MAP@Publika in Solaris 18 June.
Dutamas
www.hbart.com.my
Kuala Lumpur
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JUNE 2011 / 19
IN THE FRAME
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REN ZHE
Ren Zhe
Spirit of the ages
JUNE 2011 / 21
IN THE FRAME
“My artwork has been influenced by there is something inspiring about the inter-
Western classicism,” revealed the Beijing- action.
born Ren Zhe. “Through incorporating mod- “I admire the indomitable spirit of the
ern techniques, the form takes on a contem- warriors,” said Ren Zhe. “And the warriors
porary feel. I hope to use modern materials to that I create are neither about invading nor
portray traditional ideas. Because I feel that fighting. They are more about being strong
tradition and modernity are contradictory, but in their attitude. I hope their spirit inspires all
what does not change is the indefatigable who have suffered setbacks or experienced
nature of the spirit. This has been what I want difficulties to stand up for themselves. I want
to express all along – the goodness of spirit to constantly go all out, broaden my horizons
and admirable qualities.” and surpass my own standards. This is why I
The energy and dynamism in the figures am creating these warriors; I wish to convey
express this extraordinary strength. The war- this awesome spirit to people.”
riors appear classically Chinese but could be Ren Zhe uses a complex process to pro-
on any battlefield. This versatility, one that duce the sculptures and he likens it to con-
characterises Ren Zhe’s creations, might de- structing a building. He starts with drawing a
scribe a China that still reveres its past in a sketch of the design. This is followed by cre-
modern global economy. His personal jour- ating the sculpture’s framework and it uses
ney also spans the classical and the modern. both iron and wood to support a sculpture
“I started to write calligraphy from a mould made of clay. The very process is a
young age and I have continued until now, traditional one that Ren Zhe is keeping alive
making it a habit,” said Ren Zhe. “I reckon it in the 21st century.
must be my early exposure to calligraphy and The wax sculpture is coated by heat-
the beauty in it that has been a source of in- proof sand and put inside a kiln to melt away
spiration, including my subsequent creations. the wax inside and the hardened ceramic.
I started to learn drawing and art from high This is actually an ancient technique called
school. I began to receive a formal educa- the ‘lost wax’ method. Pre-prepared molten
tion in art and was admitted into Tsinghua Art bronze (heated to extremely high tempera-
Academy. I have been continuously learning tures) is poured slowly into a ceramic shell.
about art and sculpting, and my family has After the shell is broken and the sculpture
always been supportive, deeply influencing emerges, Ren Zhe adds chemicals to make
me on ideas about culture as well.” colours on the surface.
Sculptures such as the stainless steel “The medium is an important component
Infinite Spirit of Allegiance, recall figures from in sculpture and an important consideration
martial arts as well as military history, Japa- of the artist,” said Ren Zhe. “I have always
nese Manga, and Marvel comics. The bronze been more inclined towards using metal as a
Gentle Warrior has an essentially spiritual material, by melting it to a liquid and using it
quality that could depict an enlightened fig- in the casting process. I feel that this material
ure reflecting across time. The historical blue- allows me to express my feelings about clay
print of Ren Zhe’s subjects has the feel of an sculptures and it also solidifies the artwork.
everyman on a spiritual search. It could be Considering too many materials may restrain
a battle for the truth that has continued for me from what I want to express, I embrace
aeons. The artist leaves us to fill the gaps but freedom and emotion and feel that these
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REN ZHE
JUNE 2011 / 23
IN THE FRAME
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REN ZHE
JUNE 2011 / 25
IN THE FRAME
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REN ZHE
1. Indefectible Spirit
Stainless Steel, 85 x 73 x 30cm
2. Courageous Appearance
Stainless Steel, 85 x 65 x 55cm
3. Yuchi Jingde
Stainless Steel, 117 x 66 x 50cm
JUNE 2011 / 27
IN THE FRAME
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REN ZHE
JUNE 2011 / 29
FEATURE
Infinite ink
CHONG SIEW YING
Singapore’s Valentine Willie Fine Art (VWFA) on either side. ‘Faith’ illustrates, on a large-scale
presents ‘Infinity’, an exhibition by Malaysian art- panel, the artist’s profound mindscape where open
ist Chong Siew Ying who is known for her sensual skies, tall trees and a narrow path nudge the viewer
paintings and elegant figurations. Her latest body into commencing on a philosophical journey which
of work focuses on melancholy landscapes drawn could be infinite.
out in bold charcoal strokes on a paper-mounted Chong expresses visual poetry through lay-
canvas— a new material manufactured in France. ered textures, greyscale hues and multiple conno-
The 10 monochrome canvases offer a reflec- tations. In contrast, these are depictions of a co-
tion of traditional Chinese ink and wash paintings lourless world; breathtaking and romantic at first,
and their oft-chosen subject is ‘the landscape’, ex- the ideal notion of the lush but empty landscape
cept that these are landscapes from Chong’s heart fades quickly on closer inspection as one realises
and mind. Without any use of colour, the works of a sense of sadness within beauty while tension
art convey the fluidity of brushwork in expressions builds in the thick, heavy clouds gathering in the
of the earth, sky, water and everything reflected skies above, hinting at the notion of a ‘calm before
within. As a Chinese-Malaysian, the artist has been the storm’. Whether that is in fact the artist’s inten-
influenced by ancient Chinese ink paintings, phi- tion is uncertain.
losophy and even poetry. However she has also These emotional ‘mindscapes’ were devel-
been influenced by a ‘western’ sense of composi- oped over two years and demonstrate the power
tion and technique. Her works are prepared in two of art to capture the intangible qualities of nature —
stages – she traces out the details of clouds, trees, transcending the real to the imagined.
and perhaps a lonely moon, with charcoal over the
paper-mounted canvas. Once the characteristic
grainy textures have been achieved, Chong then ‘Infinity’, an exhibition of Chong Siew Ying’s work,
brushes over the image with a transparent acrylic was exhibited at Singapore’s Valentine Willie Fine
emulsion which smudges and blurs the contours Art (VWFA) 6-29 May, 2011
to soften sharp edges lending depth and an overall
sense of life and reverberation- the final effect emu-
lates the aesthetics of Chinese ink.
Based between her Paris and Kuala Lumpur
studios, these labour intensive works were devel-
oped through Chong’s understanding of space
and landscape which may bear associations to
perhaps her homeland. Wide open spaces are
depicted with pathways mysteriously disappear-
ing over the horizon while flanked by lush trees
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CHONG SIEW YING
JUNE 2011 / 31
STORY
The
storyteller’s
dream
Text: Clare Eltringham | Images: Ninuku arts
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HARRY Tjutjuna
Harry Tjutjuna
JUNE 2011 / 33
STORY
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HARRY Tjutjuna
Harry Tjutjuna is a senior Indigenous randah and a tin cup of hot tea sits in front
man from a remote, desert community of him.
in South Australia called Pipalyatjara. He On a good day, Harry is able to stand
paints at an art centre – Ninuku Arts - in a on his own accord balancing precariously
neighbouring community known as Kalka. on his punu (walking stick). Other times his
While art enthusiasts have spent years ad- extensive group of granddaughters (who act
miring his work for its quirky imagery and as primary carers for Harry) will help him to
fluid, painterly application, it could be said his feet and towards the art centre vehicle.
that the most fascinating aspect of his paint- Having been “born in the bush” there is no
ings is the story they tell. official record of his birth but he is said to be
For Indigenous artists, particularly se- around eighty years of age. Although fragile
nior men and women from the desert in physically, Harry’s spirit is as strong as an ox
Australia, the connection to place and story and his conviction to paint infallible.
is directly linked to their art. They belong to To Harry, painting is as a voice is to
their places of birth the way that a child be- a singer – an essential part of his life and
longs to its parents and they carry the sto- expression. When he arrives at the art cen-
ries of their land in their hearts. tre, he sits outside (by far his preferred en-
That said, there is no denying that a vironment come either winter or summer)
sense of belonging is one of the most impor- and goes about his work. To watch Harry
tant things for Indigenous people – they are Tjutjuna paint is from a position of treasured
of their country and their sense of ownership privilege. With a conductor’s precision, he
goes far beyond patriotism. One of the few whimsically and gently lets the drippy paint
ways of gaining insight into Indigenous cul- flow from his brush. Eventually, due to the
ture is through conversation (although often nature of how he sometimes uses the same
a language barrier exists) or through observ- brush in the different paint pots, his colours
ing ritual, language, inma (ceremony) and, of blend into each other the way the clouds
course, through art. Many years ago I read a melt at sunset.
quote by an Indigenous artist from the west- The five main stories Harry Tjutjuna
ern desert, Michael Nelson Tjakamarra. It paints include Wati Nyiru, Mutata, Wati Ngin-
was simple but incredibly poignant and has taka, Kungka Tjuta and Wati Wanka. These
stayed with me ever since. It said “Without stories, along with most that Indigenous art-
this, they wouldn’t know us.” Art has be- ists paint, are commonly known as Tjukurpa
come their visual language, one of the few or Dreaming. But Harry’s cheeky personality
ways for Indigenous people to communicate also shines through in his work – his Kungka
and share their stories with ‘white fellas’. Tjuta (lots of women) for example is a depic-
Harry Tjutjuna’s begins each working tion of women’s bottoms sitting in the sand.
day, waiting patiently for the art centre troop Anangu (the term for people in the local lan-
carrier to pick him up. When we arrive, he is guage of Pitjantjatjara) have a tradition of
sitting cross-legged on the front verandah of sitting on the ground in a circle and sharing
his house, his gaggle of dogs surrounding stories. Often they will hold a piece of wire
him like a nest of hungry, squawking birds or a stick and they will trace designs in the
begging for him to flick some of his damper earth as they share these stories. In many
or ‘Weat-bix’ aside. The sun is just begin- ways, Harry puts down the painful way that
ning to reach him under the shade of his ve- some Anangu draw in the red earth at story
JUNE 2011 / 35
STORY
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HARRY Tjutjuna
time. He will work over thick marks in layers der has cast; the blocks of flat colour may
of varying colours and designs until the can- represent the cave where the spider hides;
vas reaches a place of compositional and and the repetitions of dots may represent a
aesthetic brilliance. cluster of black rocks found on the side of
Arguably the most common story he a mountain.
paints is Wati Wanka (Spider Man). It is not
surprising that he sometimes jovially intro- This May-June, ReDot Fine Art Gallery ex-
duces himself as the ‘Spider Man’. As he hibits a group of Indigenous paintings which
explains: “This is a big spider man. Wati come straight from the source – the Anangu
paluru Ngankari (A male healer, traditional Pitjantjatjara Yankunytjatjara Lands in the
doctor). He is a powerful man. When rain northwestern corner of South Australia. In-
comes he hides in his nest. He is a clever digenous-owned and community-based art
man. At night, he changes colour. His name centres - Tjungu Palya and Ninuku Arts – are
is Wanka (Spider). That’s the story. Minyma sharing this opportunity to show the audi-
wanka tjuta, these are all the women and ence the brilliance and significance of works
children for this man (around him).” painted ‘on country’.
He goes on to implicate himself in
the story: “I am the spider man, Ngankari
(healer, traditional doctor).” In the painting, Story is a column that looks at the connection
between visual art and narrative.
Harry’s ‘Kungka Tjuta’ (lots of women) sur-
round the spider and this goes on to be a
repetitive theme in all of his paintings. The Image credits:
spiders themselves are of varying detail and 1. Title of artwork year medium size
colours. Often they contain designs painted 2. Title of artwork year medium size
3. Title of artwork year medium size
on the spider’s stomach - at times, Harry
has referred to these as being representa-
tive of the sexuality of the spider (male or
female) or as designs representative of body
painting for traditional ceremony.
Trying to make a distinction between
narrative and imagery for someone like
Harry Tjutjana is nearly impossible. Essen-
tially they are the same thing – the Tjukurpa
(Story) is the painting and the painting is the
Tjukurpa. Sometimes the translation is literal
i.e. his spider man does look like a sinister
spider with long, spindly legs and beady
eyes. At other times, his paintings transcend
our literal understanding of his imagery and
the result is seemingly abstract. The reality
is that they probably only appear this way
– the abstract forms have meaning as does
every mark made. The web-like forms in his
work may represent the web that the spi-
JUNE 2011 / 37
GLIMPSE
The Keramikos
World of Madhvi
Subrahmanian
Text: Jason Toh
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Madhvi Subramanian
JUNE 2011 / 39
GLIMPSE
For the past decade, contemporary art in to be mediated and influenced by materials found
Singapore has been dominated by photography, in nature. In America, Madhvi’s formal ceramics
video, performance, and installation art. Traditional education was further reinforced with a Masters in
media such as painting, printmaking and sculpture Fine Arts from the Meadows School of Art in Dal-
have rarely been part of the oeuvre even though las, Texas. Her life has been one of constant move-
the majority of artists are formally trained in these. ment and migration and this is a major theme in her
So, it is refreshing for me as a contemporary art art creation. Singapore has been home to the artist
curator to see an artist like Madhvi Subrahmanian, for the last three years and in this solo exhibition,
who has resolutely resisted the ‘new’ while being she showcases her wall-mounted and freestand-
refreshing in her work. She has continually worked ing installations.
with ceramics for the past 25 years. Clay, an organic material that is found abun-
Originally from Mumbai, India, Madhvi took dantly on our planet is transformed into ceramic-
off from the hustle and bustle of the urban Indian an inorganic, non-metallic solid - by the action of
metropolis in the mid 1980’s and planted herself in heating and subsequent cooling. Through the ages
Pondicherry, the ‘French Riviera of the East’ to im- in both East and West, clay has been used to pro-
merse herself in art. She enrolled in a ceramics work- duce utilitarian products for everyday use. As an
shop set-up by Americans Ray Meeker and Deborah art object, ceramics is generally linked to the deco-
Smith in 1971 named Golden Bridge Pottery. rative arts or archaeology. How then do Madhvi’s
The couple’s interest in eastern philosophy, sculptural forms fit into the current contemporary
Japanese stoneware and sustainable architec- art context?
ture influenced students like Madhvi whose cur- In her first solo show in Singapore entitled
rent art-making practice fuses the ancient with the ‘Connections’, Madhvi uses her material in an un-
contemporary, the spiritual with the mundane and orthodox manner, moving away from preconceived
the everlasting with the ephemeral as it continues notions of ceramics to site-specific installations.
40 / TPAG
Madhvi Subramanian
JUNE 2011 / 41
ART LANDS
The Emperor
and the CEO
Text: Remo Notarianni
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HONG KONG
JUNE 2011 / 43
ART LANDS
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HONG KONG
Hong Kong’s vertical skyline is a symbol of its to the unique territory of Kowloon.” All the pieces of
financial success. But for many, there is a notice- writing were variations of this same message. This
able gap between its soaring skyscrapers and the perhaps made his resolute claim to the land, which
heritage of it streets and monuments that spoils he linked to his family tree, a pretext for his art.
the view. “He was just focusing on writing to express
In recent years, a new buildings have ap- himself for his own pleasure, and not considering
peared on architects’ models that have intensified anything else,” said Joel Chung, founder of HK Cre-
the debate. The designated area, in West Kow- ates, and a friend of Tsang— who was also known
loon’s Yau Tsim Mong area, is part of an attempt by as the Emperor or King of Kowloon. “For more than
the Hong Kong SAR government to nurture art and 50 years, King Kowloon proclaimed his sovereignty
culture in the territory. The district, which is part of over the peninsula through his writings in the streets.
a project that costs HK$ 21.6 billion for construc- Whether you believe in what he said or not, there’s no
tion, is set to house a National Museum, countless doubt he was very serious about it.”
theatres, and cultural projects in 40 hectares. Chung makes an endearing reference to
Stalled by setbacks since 1999, the distinctive Tsang’s writings on the wall opposite Hong Kong’s
curves of the structure could easily form a question Botanical Gardens near the former Government
mark. Following countless public consultations, the House, which were written on 30 June 1997, one
area is scheduled to open in 2015 as an arts hub day before the territory’s return to China, and his
managed by the West Kowloon Cultural District writing on the red British colonial post box in Em-
Authority. But news-making disappointments such bankment Road, Mong Kok— an exception be-
as the resignation of Graham Sheffield as the CEO cause he usually publicly wrote on grey surfaces
of the authority and the ensuing mystery surround- such as cement walls or pillars, electric distribution
ing this, has made the project seem doom-laden. boxes, and lamp posts.
If the proposed wedge-shaped building does Tsang, a toothless refuse collector, also found
speak to the city, it will most likely claim that Hong notoriety through his clashes with the police. But
Kong is no longer the ‘cultural desert’ it was once in the spirit of artistic provocation, this helped him
accused of being. Perhaps the government is hop- make an impression. His work was quickly erased
ing that this will strike a chord with the bohemian by the authorities but it became written onto the
voices of its ‘pop-up’ galleries and Hollywood minds and hearts of culture vultures. Tsang’s de-
Road art dealers. signs have appeared in the work of local fashion
A recent exhibition at ArtisTree, a venue fund- and graphic designers, singers, photographers,
ed by property developer Swire, acknowledged at advertisers, TV and filmmakers.
least that the messages outside these well-estab- Yet, while the artwork of a self-proclaimed
lished art spaces are worth listening to. The ex- emperor, who persisted in his claims, becomes an
hibition, entitled ‘The Kowloon King’, showcased odd part of Hong Kong’s history, the West Kow-
the work of Tsang Tsou Choi, a calligrapher best loon project remains a looming promise by the
described as a renegade graffiti artist who died in government. The exhibition held by Swire Island
2006, aged 85. East confirms at least that an art world can still ex-
For the decades that he refined his art, Tsang ist without it.
clashed with police as he splashed calligraphy on “Although it’s not the first retrospective of King
walls, post boxes and public areas. As he made Kowloon, to date,” said a spokesperson for Swire
Hong Kong into a city-wide studio for his unique Island East. “The ‘Memories of the King Kowloon’
script, which contrasted with both the alphabet of exhibition features the biggest collection, covering
British colonial road signs and the traditional Chi- the longest period of Tsang’s creative output (some
nese of Hong Kong, Tsang visually voiced what 500 exhibits in total, including Tsang’s 300 original
seemed like a political manifesto: works). It’s good to see the private sector support-
“I am the King of Kowloon,” wrote Tsang. “The ing art in an active way. Swire has been a long-time
true ruler of the Kowloon peninsula and I lay claim patron of the arts since the 1970s and a diversi-
JUNE 2011 / 45
ART LANDS
46 / TPAG
HONG KONG
JUNE 2011 / 47
ART LANDS
48 / TPAG
HONG KONG
JUNE 2011 / 49
MARKET VOICES
The
had thrown aside his professional career to live as
an artist,” said Churchill. “Impressed with his work
I was amazed he had sold none of it and I realised
cross-
that I could help put him in touch with profession-
als with a disposable income. I invited them to
view some of his unsold work and managed to sell
seven of his pieces in a short period of time. From
cultural
there the idea warped into The Art Movement.”
Churchill has given the projects an organic
quality, helping audiences focus appreciation by
revolu-
theatrically linking the art with metaphors. With
Revolution, held on May 18, he showcased the
artwork of seven artists originating from the United
States and Europe in a makeshift circus tent in a
tion
hired space. Held in an upmarket area of Hong
Kong Island, the event attracted a range of profes-
sionals who could experience something beyond
austere gallery exhibitions.
“Our new concept is called RE,” said Churchill,
”and it is defined as reverse motion as it incorpo-
rates a forward sense of renewal; the former refer-
ences our nostalgia for a time when art was for the
Text: Remo Notarianni | Image: the Art enjoyment of all, not a luxury for the few, the latter,
Movement our aim to push contemporary art to a wider expe-
rience embracing all the senses.”
Revolution, included the work of American
artist Vladimir Kush, Polish artist Olgierd Nitka
Asia’s art scene has exploded amid stellar and Hong Kong’s Pete Ross. Each artist created
economic growth. Hong Kong-based art promot- his own take on the concept of the circus, which
er James Churchill is the founder of the Art Move- became a metaphor of art as a vibrant form of en-
ment, an organisation that helps ‘western’ artists tertainment rather than a commodity. According
stand out in a predominantly Asian crowd. to Churchill, contemporary art has often divorced
“The Art Movement was a concept I came up itself from its collector base with ‘the shock of the
with around a year ago,” said Churchill. “Initially I new’ and one that comes from its relentless pursuit
was disappointed by the Hong Kong art scene in of being different. He describes the circus as being
many ways. I found a limited selection of creative- ageless and boundless as it has evolved with the
works, with a great emphasis on contemporary times to include different areas of society.
Chinese artists, a lot of which I didn’t connect with For the event, Churchill hired French sound
or comprehend.” designer Cedric Maridet.
Originally from the UK, Churchill states that his “The sound and ambience add to the experi-
goal is to make the work of European and Ameri- ence that help the art enthusiasts interact with the
can artists accessible to well-heeled aficionados artwork,” said Maridet. ”this makes the event flex-
with disposable incomes as well as art lovers in ible and alive.”
general. The Art Movement evolved as a natural The Art Movement attempts to build art
response to a noticeable market gap, and Churchill bridges amid a deluge of Asian art. To Churchill,
stages targeted events that add an international this starts with an experience that helps engage-
flavour to the local industry. ment with the artwork. Churchill does however see
“As I was considering the options I happened obstacles if the movement is to be groundbreaking
to meet a young Polish architect living locally who enough to shape the art scene.
50 / TPAG
HONG KONG
James Churchill
“At the moment it differs greatly,” admits “Hong Kong is still a relatively young market
Churchill. “In many ways I’m not launching RE to in terms of art history, especially in the western art
be profit-making in the near-term. The show is of- segment,” said Churchill. “While the media regular-
fered for free at a significant cost to myself and ly reports on new records at Christies or Sotheby’s
more as an ode to the artists as well as a push to or the jumping from No.9 to No.1 in China’s world’s
broaden the art scene. While Hong Kong is clearly largest auction marketplace for fine art, it fails to
in the spotlight ahead of such things as the Hong show the beat on the street. My opinion talking to
Kong International Art Fair 2011, few people can local gallery owners or consultants is one of ‘them
afford the starting prices of art at such a grandiose and us’. Whilst the auction duopoly continues to
event, and some select contemporary Chinese art print a phenomenal amount of business, some gal-
has sky-rocketed to the unfathomable levels.” leries are clearly struggling to sell work under high
Events may seem more cost-effective than rents and after the explosion of numbers to over
gallery spaces but Churchill concedes that there 100 in 2010, a few are already shutting their doors.
is no easy solution if the environment itself does RE aims to offer a patchwork of creative art at ac-
not have a platform for the wide range of talent on cessible levels despite the increasing costs now
offer. As Churchill plays circus master to a different being faced in Hong Kong.”
crowd, he may find that there is more than bread
and circuses to Hong Kong’s rapidly growing and
diversifying art scene.
JUNE 2011 / 51
MARKET VOICES
Utterly
TPAG: Firstly congratulations to you and your
Managing Partner Kenneth Tan Kok Meng on
completing 10 years as a gallery! I know you
‘hungry
are a molecular biologist so how did you get
bitten by the art bug?
Yes, in fact while I was studying in England for
for more’
my PhD, I often holidayed around Europe. Galler-
ies were normally on the list of places to see, and
I found that I liked going to them, unlike other
Singaporeans who might make a quick beeline
art!
towards the nearest shopping malls instead. I
found that I could sustain an interest in art, and
when I returned home and started earning a sal-
ary, I could actually afford to own some art!
This month Singaporean gallery Utterly Art
Gallery completes 10 years in the business TPAG: So what was the first work of art you
and the founders say they are ‘hungry for bought?
more’. TPAG catches up with Gallery Direc- It was a deft watercolour from a show at the
tor Dr. Pwee Keng Hock to find out more. Cambridge Town Hall, bought at the princely (for
a student such as myself) sum of sixty pounds,
about autumn leaves and harvest fruit.
52 / TPAG
SINGAPORE
tives. The only thing that limits them is cash! I think ways been perceived as kind to young and emerg-
when we started, we were already out of the ‘Sin- ing artists, although we also showcase several
gapore as cultural desert’ phase and already on to established artists as well. Initially, we had several
the ‘Singapore as Renaissance City’ phase, so as Singaporean artists interested in showing us their
collectors, we have this openness that makes us work, and then we found a niche for Philippine art
attractive as clients! from 2006, because no other gallery was show-
ing it in a sustained and concerted fashion here
But you asked about changes: well when we were in Singapore. Actually we’ve always shown Filipino
one of the small number of galleries in town, we artists, even in our first group show, but six shows
had more visits by students and artists then, but in 2006 made a greater impact (we did eighteen in
curiously now, we find they don’t do the rounds 2009). We became well-known as the gallery with
so often, nor do they come for their ‘market re- the first overseas solo exhibitions of many Filipino
search’ and this is not just our gallery, most galler- artists and we are in fact the largest showcase of
ies seem to have smaller visitation numbers— this Philippine artists in the world outside of the Phil-
could be because the audience now has a much ippines, so this has led to several artists inquiring
bigger ground to cover... or it could be that stu- about exhibiting with us, and with high demand,
dents have more diverse interests nowadays. Also we could afford to pick and choose the good ones!
good young Singaporean artists seem to be mov- And we’ve had several good artists pass through
ing away more from commodifiable art such as our doors, many of whom are now enjoying auc-
paintings and sculpture, and moving onto making tion coverage in Sotheby’s and Christies.
installations, video, performance which are not as
‘sellable’. Recently collectors seem to have be- TPAG: Lastly how do you see Utterly Art growing
come much more selective too. and contributing to the local art scene in, lets
say...the next 10 years?
TPAG: What have your major challenges been We do want to grow, improve and continue show-
through the years as a gallery? ing art that we enjoy, and continue giving oppor-
Getting clients to buy, getting them to visit, get- tunities to good artists. It is admittedly quite com-
ting them to take notice... the usual! When we first petitive now, and more difficult to get ‘noticed’
started, we had to curate good shows by good amongst the several exhibitions that open every
artists to get noticed (actually nothing’s changed week (although we are responsible for many of the
there), and now, it is interesting that while there openings ourselves with almost 30 shows a year
are yet more collectors around who are starting to – we believe we are the most frequent exhibitor in
buy art, the scene has expanded such that it has Singapore). We have always believed in sustain-
become quite competitive, with several more gal- able growth for artists, not jacking up prices when
leries in existence. The challenge remains in how to detecting demand so that our artists will not be a
stay relevant to the changing tastes of collectors, ‘flash in the pan’; here one season and gone the
and also mounting larger events to attract them. next. In our next phase, we hope to start bringing
Expanding beyond our Singapore and Philippine more artists abroad through shows and art fairs.
staples, we are introducing Cambodian and Paki- This year, we made our first foray overseas this
stani artists for the first time this year. February, into Hong Kong at the Asia Top Gallery
Hotel Art Fair at the Mandarin Oriental Hong Kong.
TPAG: Utterly Art has mostly shown affordable We hope to take our artists to the next level at auc-
works which reflect the young and emerging art- tions and art fairs – judiciously.
ists from SE Asia and as you mentioned, from
Cambodia and as far as Pakistan as well, so how
have these artists and their works been chosen?
We are very open to anyone who approaches us,
we never make pre-judgments without at least
seeing some work from the artist, so we have al-
JUNE 2011 / 53
PERSPECTIVES
Entering the
Singapore space
Text: Gladys teo
KA’a,
Duo-artists
Jamie Paul,
Artist
Linda Sim,
Photographer
54 / TPAG
THE SINGAPORE SPACE
Steve Lawler,
MOJOKO
Camilla
Hewitson,
AAF
JUNE 2011 / 55
PERSPECTIVES
I am standing at the crossroads of Joo Chiat kids throwing parties with visual arts and exhibition
Road and Marshall Lane in Singapore. An old man elements,” observes Mojoko. While the potential of
with a toothy smile rides by on a trishaw, humming Singapore’s art market is undisputed, a big ques-
Hokkien tunes over the loud rumble of a Shakira tion lies in the minds of many: can western artists
tune blasting from a speaker in a nearby pub. An who desire to be part of this developing market af-
Australian family strolls by, munching on curry puffs ford to stay here through the entire course of its
and fishcakes in banana leaves. They hop to the development? After all, Singapore is among the ten
side of the narrow road as a biker chick, carrying a most expensive cities in the world to live in, and are
box of ‘Brothers’ bittersweet apple cider squeezes these artists generating enough sales to cover rent
past in a hurry. I watch the sun setting against high- and living expenses?
rise flats and rows of converted shop houses and “It’s not easy,” Jamie acknowledges, “it is
reflect – this could be the perfect setting for a film. harder to sell my works here as the market is a
But where exactly would it be? lot smaller. In Sydney, the market is more mature
The jumble before me, with its intense layer- and the level of disposable income is comfortable,
ing of oriental and occidental, past and present, people buy art as they can afford to. In London,
makes Singapore a complex but artistically inspir- there is a diverse range of collectors purchasing
ing city. Steve Lawler, the man behind art organisa- art, however, in Singapore, buyers are more cau-
tion Mojoko, has been based in Singapore for more tious and prefer to look at the CV, track record,
than eight years after having lived in Iran, Hong and exhibition history of artists.” However, there
Kong, the United Kingdom and Italy. This ‘halfway is a flip side to this coin. Artists like Paul relish a
house’ is perfect for him as he wonders the streets growing market over mature, saturated ones in
looking for cheap paints, antique knick-knacks and the big cities of Australia, New York and London.
toys that he can pull apart to create new works of He observes that more opportunity is presented in
art. “The grass is green on both sides, you have Singapore. Firstly, galleries are more open to ex-
Asian and western comics on the same bookshelf.. hibiting new artists, secondly, the dozens of com-
then you go to Mustafa and see the mosaics on the mercial galleries navigating the cultural landscape
floor, and the medicine packages in Chinatown. constantly offer exhibition space, curating solo and
You can’t get this anywhere else,” he says with a group shows to capture the new burgeoning col-
chuckle. lector base in Singapore. Finally, new collectors are
The same sentiment is shared by Jamie Paul, in general more receptive towards newer artists
a British artist who moved to Singapore from Syd- and mediums.
ney more than three years ago. He uses an abun- International aerosol and stencil artist Kirsty
dance of pop culture references in his art, and to Furniss, who is part of the acclaimed duo KA’a, has
him, Singapore’s magazines and media, such as benefitted from the smaller but developing market
television and film present an interesting ready- here. “In a small place like Singapore, you get to
made collage of East and West. “I don’t think cul- know more people in the industry, and the intimate
ture (in Singapore) is being imported; it is being contact between galleries and fellow artists comes
developed and it’s a fascinating opportunity to be in handy and is mutually beneficial when galler-
part of its development and vibrancy.” ies are looking for new artists to showcase work
It is true that Singapore’s art scene has been and artists are looking for galleries to market their
portrayed in numerous publications as hot, trendy, work. People in Singapore are also very receptive
and up-and-coming. A quick survey of the number towards contemporary art, unlike many parts of
of institutions, galleries and art spaces has been France where audiences are still quite conserva-
something of a testament to this. Everyone is trying tive and do not readily accept mediums like aero-
get a bite of the pie, and this is demonstrated not sol and stencil art.” In fact, Kirsty, like many other
only by ‘grassroots style’ small-scale events such foreign artists who have exhibited in Singapore,
as Post Museum’s initiatives, but also by an ongo- cherishes the value to exhibit in Singapore. “That
ing push by large scale institutions and fairs. you’ve exhibited overseas, especially in Asia, is
“There is something to go to every week, valued even in mature markets. In France, buyers
fairs, exhibition openings, not just institutions but are definitely interested in whether you have had
56 / TPAG
THE SINGAPORE SPACE
international recognition. Exhibiting in Singapore terned that you can’t see the individual anymore.”
helps us in France, which allows us to gain more Sim elaborates on this by describing the large
recognition when we come back to Singapore,” number similar-looking public flats in Singapore,
Kirsty explains the cycle. with their overwhelming similarities and organised
Camilla Hewitson, director of Affordable Art patterns causing her to lose sight of individual win-
Fair Singapore, explains that the key to capturing dows. “And the queues, somehow when individu-
the new collector base in the Lion City is pricing als join the queues, they lose their individuality. I
and affordability. The excellent sales revenue of don’t see them as individual persons anymore but
galleries exhibiting at the inaugural Affordable Art just a long queue!” A conceptual photographer,
Fair Singapore last year proved that the buying Linda’s search for space in this dense city has
market in Singapore has potential. Singapore is a prompted her move into a new experiment where
large cosmopolitan city where the tastes of buyers she is seeking space through a highly unconven-
are varied, and this presents opportunities for art- tional medium: science. Currently working together
ists and galleries to capture their client base, which with the quantum physicians at the National Uni-
will differ from gallery to gallery, artist to artist. versity of Singapore, Linda is exploring the parallels
Nevertheless, costs remain a sticky issue for between art and the quantum of space. This highly
expat artists based in Singapore. Finding an af- experimental installation, Timensions, will be exhib-
fordable roof over their heads is a thorny issue, let ited at the Singapore Art Museum next year.
alone finding additional studio space to work in. In a city where old shop houses meet glossy
Most of these artists are also not eligible for fund- shopping malls, and where old men sit on park
ing or studio grants from the government as much benches singing to birds beside students clad in
of the funding allocation is directed towards local jeans burrowing their noses in their iPhones, con-
artists. While there are private independent initia- tradictions are part of the landscape. But such
tives such as Post Museum which offers affordable eclecticism has fertilised the city’s art attractive-
studio space and artists residencies (KA’a was a ness, and Western artists have thronged in, eager
grateful recipient of this), such spaces are hard to to be part of the discourse and a market that is
come by. growing. Occupying the same dream and defined
The lack of studio space is a common gripe by a common sensuousness, they face numerous
of artists in Singapore, be they foreign or local. Yet, constraints in living costs and a lack of space, but
the search for alternate space has led to interesting the temptation of helping to co-design a new cul-
developments. Mojoko rationalises that the trend ture simply by being part of the city’s interesting
towards multimedia art forms and design is a logi- new mix is perhaps too great.
cal result of a lack of space: artists have taken their
studios online, working on computers rather than
relying on physical space. This has encouraged
the integration of visual art, multimedia art, fashion
and design, blending commerce with experimen-
tation in interesting, and engaging ways. A recent
example, Them.sg, is an experimental project that
brings together fashion designers and visual art-
ists, producing multimedia installations that could
completely replace the need for physical catwalks
one day.
Swedish-Austrian photographer Linda Sim,
who grew up in Germany and lived in Australia,
moved to Singapore less than one year ago, and
is still perplexed and challenged, albeit in an ar-
tistically positive way, by the lack of space in Sin-
gapore. “Everything here is so dense; it’s all solid
structures, organised opaqueness, and it is so pat-
JUNE 2011 / 57
C
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
RD
CLE
N
OO
MEN
NG
CEA
RA
U AV
SE
CA
E
IR
NH
- Art Forum
- The Tolman Collection
ILL
R
RD
RD
Larasati
SA
Art GoGo
BE
TS
N
- Pop and BU
LA
AY
KI
SC
Contemporary
T
JA
AL EXPRESSW
Fine Art TI
D M ST
- Gallery Reis Artspace @ The DR AH IA
Royal on Scotts
F OR RD R
DE C TO
OR I VI
CH
AR B
DR
Third Floor Hermes D - Heng Artland
NTR
- Jasmine Fine Art
- Sin Hua Gallery
CE
Night & Day
- Drawing Gallery
Opera Gallery
SELEGIE RD
Vue Privée
M.A.D
(Museum of Art & Design)
ST
ORC
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HAR AY
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RD
DR W
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Foundation Oil
RT
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Painting
NO
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ORC
HAR PR
The Picturehouse
D RD
Young Musicians’ Society
ORC
HAR
D RD Forest Rain Gallery
Singapore
Calligraphy Centre
Art Trove, The Private RO
BR Museum, M Gallery, C
AS H
Yavuz FA
8Q SAM O
OVAS Art Gallery BA R
Action Theatre SA RD
H Singapore
RD Art Museum
RIVER VALLEY RD
National Museum Eagle’s Eye
of Singapore Art Gallery
Impress Galleries Fort Canning
Park
FOST Gallery
The Substation
KIM
Peranakan Museum
SE
NG
GANGES
AVE
Singapore
CH
ST
AN
LL
T
HI
RD
RD
AY
SW IVE
GE
HA
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DR
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59 / TPAG
HO
DEMPSEY, HOLLAND, TANGLIN & WESSEX
AN
DR
LL
LEGEND
OA
D
MAIN ROAD
SMALL ROAD
EXPRESSWAY
WAY
Source
Contemporary
African Fine Art ART GALLERY
ENS
Singapore NAS
Botanical Garden SIM
ROA
PUBLIC PLACES
QUE
D
A D MRT
RO
IN
N GL The Gallery of Gnani
TA Arts, GJ Asian Art
Boon’s Pottery,
Bruno Gallery
CO
M
M
O
NW The Peach
Echo Art Gallerie
Ha Karen Art Gallery GALLERY SPOTTED
EA Tree Hogarth Art London
LT
AD
H Kwan Hua Art Gallery
AV Li Fine Art
RO
E Mulan Gallery
IN
Peter’s Frame
GL
Sun Craft
N
Yang Gallery
TA
Barrosa Studio, D’Art, Geeleinan Art
Gallery & Studio, Kelly Reedy Studio
Arts, Marisa Keller, Sealey Brandt
Photography Studio,
E DR
T: +65 6336 0915
ESPLANAD
F: +65 6336 9975
RD
E: enquiry@art-trove.com
AY
SON
LO
OUTRAM RD
R
E XP CK
RO Opening Hours
HEN
L
RA AD
NT
CE
Wed- Sun:
Artcommune Gallery,
11am to 6.30pm
AY
Ken Crystals Call for private viewing
QU
DreamSpace Art Studio
MERLION
ER
Sotheby’s Institute of Art
iPRECIATION
LLY
Galerie Sogan & Art The Fullerton Heritage
Collectors Contemporary,
RD
CO
Mercedes-Benz Center,
Volvo Art Loft
GE
Utterly Art
ST
ID
BR
NG
SE
JL
UT
NG
N
BU
SO
TO
KI
T
U
M
/E
ER Outram
AH
RD
Station
RD
RD
E
ON
Jeremy Ramsey
ID
Living Portrait
GAR
AY
BR
Fine Art
NS
D Galerie
W
IL R
BI
M
Belvedere
NG PA
NE
NE
RO
AX
TO
W
CENTRAL BLVD
EN
EL
SH
L
AY
E R
TON
RA
JA Tanjong Pagar Marina Bay
H Station
RD
MEN
Station
EX
N
PR
SO
TR
ES
AN
SW
D
AY Give Art
Art-2 Gallery 140 Hill Street #01-03 DaTang Fine Arts Singapore
artcommune 133 New Bridge Road #02-77 177 River Valley Road,
Artfolio 328 North Bridge Road #02-25 Liang Court , #02-09A
ArtGoGo 402 Orchard Road #02-08 Singapore 179030
T: +65 9846 2098 / +65 9721 3718
ARTINNO 391B Orchard Road #23-01
www.9911art.com
Arty Art Gallery 686A Woodlands Drive 73 #15-52
B F
C G
Cape of Good Hope 140 Hill Street #01-06 Galerie Belvedere 168 Robinson Road #36-01
CdeM ART & DESIGN Blk 5 Westbourne Road #01-02 Galerie Waterton 39 Keppel Road #02-01
Collectors Contemporary 5 Jalan Kilang Barat #01-03 GJ Asian Art 1 Cuscaden Road #01-03
COMBINART 27 Woodlands Industrial Park E1 #01-08 The Gallery of Gnani Arts 1 Cuscaden Road #01-05
64 / TPAG
DIRECTORIES
O
Ode to Art 252 North Bridge Road #01-36E/F
H Ooi Botos Gallery 11 One Tree Hill
HaKaren 19 Tanglin Road #02-43 Opera Gallery 2 Orchard Turn #03-05
Heng Artland 290 Orchard Road #04-08
OVAS Art Gallery
9 Penang Road
I #02-21 Park Mall
Singapore 238459
Impress Galleries 1 Kim Seng Promenade #02-07/08 T: +65 6337 3932
Indigo Blue Art 33 Neil Road www.ovas-home.com
INSTINC 12 Eu Tong Sen Street
iPRECIATION 1 Fullerton Square #01-08
P
K
KARTESTUDIO 181 Orchard Road #B2-23/29 Pop and Contemporary Fine Art
390 Orchard Road
Ken Crystals #03-12 Palais Renaissance
6 Eu Tong Sen Street Singapore 238871
#03-72 The Central T: +65 6735 0959
Singapore 059817 www.popandcontemporaryart.com
T: +65 6339 0008
E: kencrystals@yahoo.com.sg
R
Kwan Hua 19 Tanglin Road #02-09
ReDot 39 Keppel Road #02-06
Red Sea 9 Dempsey Road #01-10
L
L2 Space 39 Keppel Road #02-02A
S
Larasati www.larasati.com
S.Bin Art Plus 140 Hill Street #01-10/11/12
Li Fine Art
19 Tanglin Road Galerie Sogan & Art
#03-32 Tanglin Shopping Centre 33B Mosque Street
Singapore 247909 Singapore 059511
T: +65 6235 3306 T: +65 6225 7686
www.lifineart.com Hp: +658138 0277
www.soganart.com
JUNE 2011 / 65
DIRECTORIES
T MUSEUMS
Tasa Gallery 89 Short Street Asian Civilisations Museum www.acm.org.sg
Tembusu 140 Hill Street #01-05 Changi Museum 1000 Upper Changi Road North
The Gallery of Gnani Arts One Cuscaden Road #01-05 MAD Museum of Art & Design 333A Orchard Road #03-01
The Peach Tree 129 Tanglin Road MINT Museum of Toys 26 Seah Street
The Tolman Collect 82 Cairnhill Road 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
U Red Dot Design Museum 28 Maxwell Road
RSAF Museum 400 Airport Road
Utterly Art LLP Singapore Art Museum 71 Bras Basah Road
229A South Bridge Road SAM at 8Q 8 Queen Street
Singapore 058778 Singapore Coins and Notes Museum
T: +65 9487 2006 2 Trengganu Street Level 3
+65 6226 2605 Singapore Navy Museum 32 Admiralty Road West
www.utterlyart.com.sg Singapore Philatelic Museum 23B Coleman Stree
W
VENUES / ASSOCIATIONS / GROUPS
Wai’s Art Gallery 6 Eu Tong Sen Street #02-64
Wetterling Teo Gallery 3 Kim Yam Road Alliance Française de Singapour 1 Sarkies Road
White Canvas Gallery 78 Guan Chuan Street Art Retreat (Wu Guanzhong Gallery)
10 Ubi Crescent #01-45/47
ARTSingapore www.artsingapore.net
ArtSpace at Royal Plaza Hotel 25 Scotts Road
X
COMBINART 27 Woodlands Industrial Park E1 #01-08
Xuanhua Art Gallery 70 Bussorah Street Esplanade 1 Esplanade Drive
Emily Hill 11 Upper Wilkie Road
Give Art 65 Spottiswoode Park Road
Y Gnani Arts Space 190 Middle Road #02-03/31
Yang Gallery 19 Tanglin Road #02-41 Jalan Bahar Clay Studios 97L Lorong Tawas
YAVUZ Fine Art 51 Waterloo Stree #03-01 JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2
La Libreria 50 Kent Ridge Crescent Level 3
Little Red Shop www.littleredshop.org
Yisulang Art Gallery
6 Handy Road
#01-01 The Luxe Mercedes-Benz Center
Singapore 229234 301 Alexandra Road
T: +65 63376810 Singapore 159968
www.yisulang.com T: +65 6866 1888
www.mercedes-benz.com.sg
Your MOTHER gallery 91A Hindoo Road
Ngee Ann Cultural Centre 97 Tank Road
Night & Day 139 A/C Selegie Road
# Osage 11B Mount Sophia #01-12
2902 Gallery 11 Mount Sophia Block B #B2-09 Post-Museum 107+109 Rowell Road
Public Art Space (Pan Pacific) 7 Raffles Boulevard
Sculpture Square 155 Middle Road
ART AUCTIONEERS / DEALERS Sinema 11B Mount Sophia #B1-12
Black Earth Auction 367 Joo Chiat Road Singapore Art Society 10 Kampong Eunos
Borobudur www.borobudurauction.com Singapore Contemporary Young Artists
Masterpiece www.masterpiece-auction.com www.contemporaryart.sg
Y2ARTS 140 Hill Street #01-02 The Art Gallery 1 Nanyang Walk
33 Auction www.33auction.com The Arts House 1 Old Parliament Lane
66 / TPAG
DIRECTORIES
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 / 67
DIRECTORIES
Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782 MALAYSIA ART GUIDE
CHIJMES 30 Victoria Street +6336 1818 +Wondermilk Art Gallery www.theclickproject.com
Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556 12 (Art Space Gallery) www.12as12.com
Chinese Garden 1 Chinese Garden +65 6261 3632 A2 Gallery www.a2artgallery.com
Crocodilarium 730 East Coast Parkway +65 447 3722 Annexe Gallery www.annexegallery.com
Escape Theme Park 1 Pasir Ris Close +65 6581 9112 Art Case Galleries www.artcase.com.my
Fort Canning Park 51 Canning Rise +65 6332 1302 Art Expo Malaysia www.artexpomalaysia.com
Goethe-Institut Singapur 163 Penang Road #05-01 Art House Gallery www.arthousegallery.biz
Johore Battery Cosford Road +65 6546 9897 Art Loft www.artloftgallery.net
Jurong Bird Park 2 Jurong Hill +65 6265 0022 Art Salon @ Seni www.theartgallerypg.com
Kranji War Memorial 9 Woodlands Road Artseni Gallery www.artseni.com
Lim Bo Seng Memorial Esplanade Park CHAI (Instant Cafe House of Arts and Idea) www.
Malay Heritage Centre 85 Sultan Gate +65 6391 0450 instantcafetheatre.com
Malay Village 39 Geylang Serai +65 6748 4700 City Art Gallery
Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036 Edi.A Art Gallery www.ediarts.blogspot.com
Marina Barrage 8 Marina Gardens Drive +65 6514 5959 Galeri Chandan www.galerichandan.com
Marina Bay Sands 10 Bayfront Avenue +65 6688 8868 GALERI PETRONAS www.galeripetronas.com.my
Masjid Sultan Kampong Glam Galeri Shah Alam www.galerisa.com
Merlion Park Fullerton galleriiizu @ Shangri-La Hotel www.galleriiizu.com
Mount Faber +65 6270 8855 Henry Butcher Art Auctioneers www.hbart.com.my
National Archives of Singapore 1 Canning Rise +65 6332 7909 House of Matahati (HOM) www.matahati.com.my
National Library Singapore 100 Victoria Street +65 6332 3255 Islamic Arts Museum www.iamm.org.my
National Parks Board 1800 471 7300 Lookiss www.lookissgallery.com
Night Safari 80 Mandai Lake Road +65 6269 3411 Lost Generation Space www.lostgenerationspace.blogspot.com
Parliament House 1 Parliament Place +65 6336 8811 Malaysia National Art Gallery www.artgallery.gov.my
Raffles’ Landing Site North bank of the Singapore River MERAH: Mansion for Experimentation, Research, Arts and
Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510 Horticulture www.facebook.com/pages/MERAH/148050170487
Resorts World Sentosa 39 Artillery Avenue +65 6577 8888 Metro Fine Art www.metro3gallery.com
St. Andrew’s Cathedral 11 Saint Andrew’s Road NN Gallery www.nngallery.com.my
Science Centre Singapore / Omni Theatre 15 Science Centre Pace Gallery www.pacegallery.net
Road +65 6425 2500 Pelita Hati www.pelitahati.com.my
Sentosa 1800 736 8672 Pinkguy Gallery www.pinkguymalaysia.com
SIA Hop-on +65 9457 2896 Richard Koh Fine Art www.rkfineart.com
Singapore Botanic Gardens 1 Cluny Road +65 6471 7361 Rimbun Dahan www.rimbundahan.org
Singapore Cable Car +65 6270 8855 RougeArt www.rogueart.asia
Singapore City Gallery 45 Maxwell Road +65 6321 8321 Shalini Ganendra Fine Art www.shaliniganendra.com
Singapore Discovery Centre The Gallery @ Star Hill www.starhillgallery.com
510 Upper Jurong Road +65 6792 6188 Valentine Willie Fine Art www.vwfa.net
Singapore Expo 1 Expo Drive +65 6403 2160 Wei-Ling Gallery www.weiling-gallery.com
Singapore Flyer 30 Raffles Avenue +65 6734 8829 Y 2 S Art Space www.y2sart.com.my
Singapore Turf Club 1 Turf Club Avenue +65 6879 1000 ZINC www.zinc.com.my
Singapore Zoo 80 Mandai Lake Road +65 6269 3411
SKI360° 1206A East Coast Parkway +65 6442 7318
Snow City 21 Jurong Town Hall Road +65 6560 2306 HONG KONG ART GUIDE
Sri Mariamman Temple 244 South Bridge Road Amelia Johnson Gallery www.ajc-art.com
Sun Yat Sen Nanyang Memorial Hall Fabrik Contemporary Art www.fabrik-gallery.com
12 Tai Gin Road +65 6256 7377 Gagosian Gallery www.gagosian.com
Supreme Court 1 Supreme Court Lane +65 6336 0644 Galerie Huit www.galeriehuit.com.hk
Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65 Hanart TZ Gallery www.hanart.com
6794 1401 I/O Input Output www.inputoutput.tv
Taxis Karin Webber Gallery www.karinwebbergallery.com
- Comfort/YellowTop +65 6552 1111 King’s gallery www.kingsgalleryhk.com
- CityCab +65 6552 2222 MADHOUSE Contemporary www.madhouse.com.hk
- Premier +65 732 2516 Madhouse Contemporary www.madhouse.com.hk
- Smart +65 6485 7777 New Gallery on Old Bailey www.newgalleryonoldbailey.com
- Tibs +65 6555 8888 Shin Hwa Gallery www.shinhwagallery.com
- Transcab +65 6555 3333 Yan Gallery www.yangallery.com
Thian Hock Keng Temple 158 Telok Ayer Street
Touristline 1800 736 2000
LONDON ART GUIDE
Underwater World 80 Siloso Road +65 6275 0030
AICON GALLERY London 8 Heddon Street, London W1B 4BU
Universal Studios 8 Sentosa Gateway +65 6577 8888
Chinese Contemporary
War Memorial Park Bras Basah Road & Beach Road intersection
The Studio House, 7/9 Edith Grove ,London, SW 10 0JZ
Danielle Arnaud contemporary art
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DIRECTORIES
L & M Arts
45 East 78 Street
New York 10075
+1 212 861 0020
www.lmgallery.com
PETRA GALLERIE
1151 S. Robertson Blvd.
Soro, LA, CA. USA 90035
Tel: (310) 247
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
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