MAY 2011 / 1

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MAY 2011 / 3
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MAY 2011 / 5
 Artist Magazine

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MAY 2011 / 7
 PARTICIPATING GALLERIES
10 Chancery Lane Gallery, Hong Kong / 100 Tonson Gallery, Bangkok / 1301PE, Los Angeles / acb Gallery, Budapest /
Acquavella Galleries, New York / Arario Gallery, Seoul / Beijing / Cheonan / New York / ARATANIURANO, Tokyo / Ark
Galerie, Jakarta / ARNDT, Berlin / Art Beatus Gallery, Hong Kong / Vancouver / aye gallery, Beijing / aye • eastation gallery,
Beijing / Beijing Art Now Gallery, Beijing / Beijing Commune, Beijing / Bernier/Eliades Gallery, Athens / Galerie Bruno
Bischofberger, St Moritz / Zurich / BISCHOFF/WEISS, London / bitforms gallery, New York / Blum & Poe, Los Angeles /
Boers-Li Gallery, Beijing / Marianne Boesky Gallery, New York / Tanya Bonakdar Gallery, New York / Ben Brown Fine Arts,
Hong Kong / London / Gavin Brown's enterprise, New York / Buchmann Galerie, Berlin / Lugano / CAIS Gallery, Hong Kong
/ Seoul / Galleria Massimo De Carlo, London / Milan / Leo Castelli Gallery, New York / The Cat Street Gallery, Hong Kong /
Charest-Weinberg Gallery, Miami / Cheim & Read, New York / Chi-Wen Gallery, Taipei / James Cohan Gallery, New York /
Shanghai / Sadie Coles HQ, London / Contemporary by Angela Li, Hong Kong / CONTEMPORARY FINE ARTS, Berlin /
Galleria Continua, Beijing / Paris / San Gimignano / Corkin Gallery, Toronto / Pilar Corrias, London / Alan Cristea Gallery,
London / Galerie Chantal Crousel, Paris / DNA, Berlin / The Drawing Room, Manila / Galerie EIGEN + ART, Berlin / Leipzig
/ Eslite Gallery, Taipei / Gallery EXIT, Hong Kong / F2 Gallery, Beijing / Los Angeles / Galerie Forsblom, Helsinki / Stephen
Friedman Gallery, London / Gagosian Gallery, Athens / Geneva / Hong Kong / London / Los Angeles / New York / Paris /
Rome / Galerist, Istanbul / Gana Art, Busan / New York / Seoul / Gandhara-art, Hong Kong / Karachi / Klemens Gasser &
Tanja Grunert Inc, New York / gdm, Paris / Gering & López Gallery, New York / Gladstone Gallery, Brussels / New York /
Galerie Gmurzynska, St Moritz / Zurich / Galerie Laurent Godin, Paris / Goodman Gallery, Cape Town / Johannesburg /
Marian Goodman Gallery, New York / Paris / Galerie Grand Siècle, Taipei / GRANTPIRRIE, Sydney / Green Cardamom,
London / Greenberg van Doren Gallery, New York / greengrassi, London / Grotto Fine Art, Hong Kong / Hakgojae, Seoul /
Hanart TZ Gallery, Hong Kong / Hauser & Wirth, London / New York / Zurich / Hopkins Custot Gallery, London / Paris /
Michael Hoppen Contemporary, London / HORRACH MOYA, Palma de Mallorca / Gallery HYUNDAI, Seoul / I/O
(Input/Output), Hong Kong / IBID PROJECTS, London / Ingleby Gallery, Edinburgh / Galerie Michael Janssen, Berlin /
Amelia Johnson Contemporary, Hong Kong / Paul Kasmin Gallery, New York / gbk | Gallery Barry Keldoulis, Sydney / Sean
Kelly Gallery, New York / Kerlin Gallery, Dublin / Tomio Koyama Gallery, Tokyo / Galerie Krinzinger, Vienna / Kukje Gallery,
Seoul / Kwai Fung Hin Art Gallery, Hong Kong / L & M Arts, Los Angeles / New York / Pearl Lam Fine Art, Shanghai / Yvon
Lambert, New York / Paris / Langgeng Gallery, Magelang / Simon Lee Gallery, London / LEHMANN MAUPIN, New York /
Galerie Lelong, New York / Paris / Lisson Gallery, London / Lombard-Freid Projects, New York / Long March Space, Beijing
/ Lumen Travo, Amsterdam / Kate MacGarry, London / McCaffrey Fine Art, New York / Galerie Urs Meile, Beijing / Lucerne
/ Kamel Mennour, Paris / Galerie Mezzanin, Vienna / Yossi Milo Gallery, New York / Victoria Miro Gallery, London / Mizuma
Art Gallery, Tokyo / The Modern Institute, Glasgow / Mummery + Schnelle, London / Nadi Gallery, Jakarta / NANZUKA
UNDERGROUND, Tokyo / Nature Morte, Berlin / New Delhi / neugerriemschneider, Berlin / Anna Ning Fine Art, Hong
Kong / Noire Contemporary Art, Turin / Galerie Jerome de Noirmont, Paris / ONE AND J. Gallery, Seoul / Osage Gallery,
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Pace Beijing, Beijing / Pace Prints, New York / The Paragon Press, London / Pékin Fine Arts, Beijing / Galerie Emmanuel
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Barcelona / THE POOL NYC, New York / Project 88, Mumbai / Galerie Quynh, Ho Chi Minh City / ALMINE RECH
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Galerie Stefan Röpke, Cologne / Rossi & Rossi, London / Lia Rumma Gallery, Milan / Naples / SCAI THE BATHHOUSE,
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gallery, Manila / Singapore Tyler Print Institute, Singapore / Skarstedt Gallery, New York / Slewe Gallery, Amsterdam /
Fredric Snitzer Gallery, Miami / Soka Art Centre, Beijing / Tainan / Taipei / Sperone Westwater, New York / Sprüth Magers
Berlin London, Berlin / London / Starkwhite, Auckland / Tang Contemporary Art, Bangkok / Beijing / Hong Kong / Timothy
Taylor Gallery, London / Tolarno Galleries, Melbourne / Van de Weghe Fine Art, New York / Vilma Gold, London / Vitamin
Creative Space, Beijing / Guangzhou / White Cube, London / Max Wigram Gallery, London / Wilkinson Gallery, London /
x-ist, Istanbul / YAMAMOTO GENDAI, Tokyo / ZieherSmith, New York / David Zwirner, New York

PARTICIPATING GALLERIES
18Gallery, Shanghai / Aando Fine Art, Berlin / Art+ Shanghai, Shanghai / Beijing 9 Art Space, Beijing / Blindspot Gallery,
Hong Kong / Brennan & Griffin, New York / GALERÍA MARTA CERVERA, Madrid / Charim Ungar Berlin | CUC, Berlin /
Vienna / Cole Contemporary, London / | EDS | GALERIA, Mexico City / Gallery em, Seoul / Exhibit 320, New Delhi / FQ
Sponsored by Projects, Shanghai / Patrick Heide Contemporary Art, London / Galerie Christian Hosp, Berlin / island JAPAN, Tokyo /
Tristian Koenig, Melbourne / Kudlek van der Grinten Galerie, Cologne / GALERIE CHRISTIAN LETHERT, Cologne / Ignacio
Liprandi Arte Contemporáneo, Buenos Aires / Josh Lilley Gallery, London / Madder139, London / Magician Space, Beijing /
Man&Eve, London / Mendes Wood, Sao Paulo / Meulensteen, New York / Francesca Minini, Milan / Mother’s Tankstation,
Dublin / NON, Istanbul / Ooi Botos Gallery, Hong Kong / Martha Otero Gallery, Los Angeles / PLATFORM3, Bandung /
Rotwand, Zurich / Scaramouche, New York / Seven Art Limited, New Delhi / Sultana, Paris / Take Ninagawa, Tokyo /
Gallery Terra Tokyo, Tokyo / TORRI, Paris / Traffic, Dubai / Galleri Maria Veie, Oslo / Skogn / WEINGRÜLL, Karlsruhe /
WHITE SPACE BEIJING, Beijing / WILDE GALLERY, Berlin / Zidoun Gallery, Luxembourg / Paris

PARTICIPATING GALLERIES
55, Shanghai / AKI Gallery, Taipei / Annandale Galleries, Sydney / Apparao Galleries, Bangalore / Chennai / New Delhi /
ARTCOURT Gallery, Osaka / ARTMIA, Beijing / CDA Projects, Istanbul / Gallery Cellar, Tokyo / Chambers Fine Art, Beijing /
New York / Chan Hampe Galleries, Singapore / Yumiko Chiba Associates, Tokyo / China Art Projects, Beijing / C-Space,
Beijing / Conny Dietzschold Gallery, Sydney / Cologne / Edwin's Gallery, Jakarta / Gallery Espace, New Delhi / The Guild,
Mumbai / New York / Yoshiaki Inoue Gallery, Osaka / Kaikai Kiki Gallery Taipei, Taipei / Kodama Gallery, Kyoto / Tokyo /
Lin & Lin Gallery, Beijing / Taipei / m97 Gallery, Shanghai / MEM, Tokyo / Dominik Mersch Gallery, Sydney /
Number1gallery, Bangkok / ALEXANDER OCHS GALLERIES BERLIN | BEIJING, Beijing / Berlin / Tim Olsen Gallery,
Sydney / Other Gallery, Beijing / Shanghai / Wenzhou / Galerie Paris-Beijing, Beijing / Paris / Platform China, Beijing /
Primo Marella Gallery, Beijing / Milan / Rampa, Istanbul / Red Gate Gallery, Beijing / Alon Segev Gallery, Tel Aviv /
Shanghai Gallery of Art, Shanghai / Galerie Sho Projects, Tokyo / SIGIarts, Jakarta / Sin Sin Fine Art, Hong Kong /
Sullivan+Strumpf Fine Art, Sydney / Sutton Gallery, Melbourne / TKG+, Beijing / Taipei / Tokyo Gallery + BTAP, Tokyo /
Umahseni, Jakarta / Vanguard Gallery, Shanghai / vivi yip art room, Jakarta / Y++ Wada Fine Arts, Beijing / Tokyo / XVA
Gallery, Dubai

Official Fair Partners Education Partner Official Hotel Partner Official International Media Partner

8 / TPAG
Correct at time of going to press
 CONTENTS

17

24 40
20

19 36 44

16 ART WIRE Patrick Heide Contemporary at

Sarong Kebaya: Peranakan
Fashion and its International
Sources 16
MICHAEL CRAIG-MARTIN
DRAWINGS: 1967 – 2002 16
Timeless Tagore - Rabindranath
Tagore’s Poetry in Visual Art by
Sudakshina Ghosh 17
Art HK 11 21
44 ART LANDS
SINGAPORE: The
Lisson Gallery at Art HK 11 22 Reconnaissance City
Nathaniel Mellors: Ourhouse 22
48 Market Voices
White Cube - Out of the Box
24 IN THE FRAME
Masato Shigemori: Floating Worlds
Art HK 11: Why Asia? Why now? 51

Samadhi 17
32 FEATURE 53 PERSPECTIVES
Ingenuity — A solo exhibition by Heri Dono: Escaping from the Herd
Tay Bak Chiang 18 Visual Palindromes: Never Odd
Never Even
Mother 18 IT’S NOW OR NEVER II: When the
materials transcend the work 55
Henry Butcher Auction of
Malaysian Art 19
36 GLIMPSE 64 DIRECTORY &
Mark Leckey 19 Between Heaven and Hell
‘INTER_PLAY’ 20
Listings
Singapore Art Guide
Cole Contemporary at Art HK Tourist Spots
11 20 40 STORY Malaysia Art Guide
Comic Belief - Digger T. Mesch Hong Kong Art Guide
KORA - NEW WORK BY
MEXICAN ARTIST RICARDO London Art Guide
MAZAL 21 Europe Art Guide
United States Art Guide

MAY 2011 / 9
10 / TPAG
Issue #19 | May 2011
ISSN 2010-4375 / MICA (P) 252/09/2010
www.thepocketartsguide.com

On the Cover
Masato Shigemori: Light Composite 2011, Acrylic on Canvas, 116.7 x 72.7cm

Editor-in-Chief
Remo Notarianni / remo@thepocketartsguide.com

Art Director
Amalina MN / ama@thepocketartsguide.com

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Gladys Teo, Daniela Beltrani, Bharti Lalwani, Richard Chua

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MAY 2011 / 11
EDITOR’S LETTER
Dear Readers,

The May 2011 issue of the Pocket Arts Guide (TPAG) coincides
with the Hong Kong International Art Fair (Art HK 11). The
event, which kicks off on May 28, has become emblematic
of the region’s bustling art world. Hong Kong’s significance
is growing as talent in the region finds global recognition. Art
HK 11 may not be considered as important as Art Basel or
Frieze, but just a few years back it was unimaginable that so
many world class galleries could converge on the city. But
Hong Kong has always been a city of surprises. Its energy and
optimism deserves the great art that is arriving in its galleries
and exhibition centres.

This issue is not solely devoted to the event, but by

acknowledging it and appreciating the gallerists and artists
present we are celebrating a scene that has diversified as it
has become global. In this issue, we have an interview with
Tim Marlow, Director of Exhibitions at London’s White Cube
gallery and Magnus Renfrew, the director of Art HK.

And true to form, we have covered ground between cities.

This issue includes Indonesian artist Heri Dono, one of the
artists mentioned in the issue who have physically become
the centre of their work; and we have Japanese artist Masato
Shigemori who has found an individual style from a cultural
patchwork.

The diversity in this issue gives you an inkling of the creative

excellence on offer at a fair like Art HK. The event is an exciting
reminder of the immense changes that cities are engulfed in
at the moment. They are creating opportunities for artists to
get recognised globally. TPAG wishes you an exciting read
with some great discoveries along the way.

Remo Notarianni
Editor-in-Chief

12 / TPAG
 LOVE THE FUTURE
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Board’s Singapore Visitors Centre at Orchard (junction of
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MAY 2011 / 13
ART WIRE

14 / TPAG
MAY 2011 / 15
ART WIRE
Sarong Kebaya: Peranakan
Fashion and its International
Sources
1.04.11 - 26.02.12
The Peranakan Museum
www.peranakanmuseum.sg
Singapore
MICHAEL CRAIG-MARTIN
DRAWINGS: 1967 – 2002
05.05.11- 04.06.11
The Alan Cristea Gallery
www.alancristea.com
London
16 / TPAG
The Peranakan Museum unveils its latest major exhibition, Sa-
rong Kebaya: Peranakan Fashion and its International Sourc-
es. This exhibition traces the evolution of the sarong kebaya
from its roots in 16th-century Islamic garments through the
many cultures that contributed to its development in South-
east Asia.
Rare and beautiful works show how Peranakan fashion devel-
oped its unique character to become an international fashion
phenomenon and the paramount expression of identity for
Peranakan women.
“This exhibition breaks new ground by carefully considering
the historical sources of the sarong kebaya. Like Peranakan
culture generally, its costume is a complex fusion of sever-
al cultures, with sources in India, the Islamic world, China,
Southeast Asia, and Europe,” said Dr Alan Chong, director of
the Asian Civilisations Museum.
The Alan Cristea Gallery will present the first ever exhibition
of drawings by the conceptual artist Michael Craig-Martin. To
be staged in the year that Craig-Martin celebrates his 70th
birthday, the show spans four decades of his career.
None of the 60 unique drawings, including studies for major
works and commissions, have ever been seen in the pub-
lic domain and this exhibition represents the first time that
this aspect of his work has been brought together and docu-
mented.
All the works are hand-drawn, with the majority pre-dating
his use of the computer – but will also include wall drawings
which he will prepare in situ in the Alan Cristea Gallery ahead
of the opening of the show, using his traditional technique of
black masking tape.
 ART WIRE

The exhibition features a captivating collection of paintings by

Kolkata-born Sudakshina Ghosh that portrays the narrative
essence of selected poems by the celebrated Rabindranath
Tagore (1861-1941), who was the first non-European to win
the Noble Prize for Literature (1913); and who wrote the na-
tional anthem of two nations (India and Bangladesh).

This significant showcase, which symbolically opens on Tag-

ore’s birthday, will be Singapore-based Sudakshina Ghosh’s
first-ever solo art exhibition. Also, the exhibition marks 150
Timeless Tagore - years after Tagore’s birth.
Rabindranath Tagore’s
Poetry in Visual Art by The exhibition is a demonstration of images that are as poetic
Sudakshina Ghosh as the words they are inspired by and with the same poetic
essence. Although it speaks a different language, it conveys
07.05.11 – 17.05.11 the spirit and essence of Tagore with almost the same sub-
The Gallery of Gnani Arts lime quality as his work did.
www.gnaniarts.com
Singapore

Indigo Blue Art presents an exhibition in celebration of Vesak

Day and In Commemoration of Spiritual Teacher Sohan Qadri
(1932-2011). International artist Sohan Qadri, a Vajrayana
Tantric teacher, was initiated by a Sufi master and a Vajrayana
Tantric guru as a young boy.

Sohan’s art, characterised by his use of the ‘dot or the moola

beeja’, re-interprets an ancient tantric philosophy of medita-
tion. In his meticulously dyed-infused paintings on serrated
paper, Sohan has abandoned representation in a search for
transcendence. To date, Sohan has had more than 80 one-
Samadhi man exhibitions all over the world.
12.05.11- 28.05.11
Indigo Blue Art There will be a talk on “Images and Mudras of Nirvana” by Dr
www.indigoblueart.com Nina Raghunath on 28 May from 2.30 pm - 3.30 pm. The talk
Singapore also covers an introduction to Buddhist thought.

MAY 2011 / 17
ART WIRE

Cham Hampe is presenting the work of Tay Bak Chiang,

whose artistic career has taken him across Asia to countries
including Korea, Japan, Singapore and his native China.

Nature, through its many forms, served as Tay Bak Chiang’s

chief inspiration for his third solo exhibition, aptly titled Ingenu-
ity. The artist’s deep found awe in the harmony, balance and
perfection in nature is made clear through these sumptuous
Chinese ink paintings

Ingenuity — A solo exhibition by
Tay Bak Chiang
16.05.11- 03.06.11
Chan Hampe Galleries @ Tanjong Pagar
www.chanhampegalleries.com
Singapore
Both the stone series and the Lotus Pond series in Ingenuity
portray its subjects in their barest forms, with Tak Bak Chiang
returning to the essence of his subjects by abandoned motifs
that would bear his feelings, points of view and intentions. In
doing so the viewer is invited to imagine and ultimately dis-
cover first--hand nature’s ingenuity.

Galerie Sogan & Art will present a group exhibition featuring five
female Singapore artists: Alecia Neo, Guo Yi Xiu, Sarah Choo,
Ye Ruoshi and Xin Xiaochang. Through various media that
include photography, sculptures, paintings and installations,
each artist will share her experience and understanding of
human relations.

Generally, a mother is referred to as a woman who has

conceived, given birth to and raised a child. However, the
complexities and differences of a mother’s social, cultural
and religious roles make it challenging to find a universally
Mother
accepted definition of motherhood.
18.05.11 – 11.06.11
Galerie Sogan & Art
www.soganart.com In this exhibition, the artists showcase ideas in diverse ways.
Singapore While Ye Ruoshi chooses to portray her stories in a theatrical
manner, photographer Alecia Neo takes on an investigative
approach to the works.

18 / TPAG

Henry Butcher Auction of
Malaysian Art
19.05.11— 22.05.11
MAP@Publika in Solaris Dutamas
www.hbart.com.my
Malaysia
Mark Leckey
19.05.11-26.06.11
The Serpentine Gallery
www.serpentinegallery.org
London
ART WIRE
This year, one of artist-poet-writer Latiff Mohidin’s major paint-
ings from his iconic Pago-Pago series will headline the Henry
Butcher Auction of Malaysian Art. An exciting collection will go
under the hammer.
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.
The Singapore Preview will be held at The Luxe Art Museum
from 19 - 22 May. The Penang Preview at a2 Gallery from 12
- 15 May and the full viewing of 105 artworks will be held at
White Box, MAP @ Publika, Kuala Lumpur from 28 May - 18
June.
The Serpentine Gallery presents a new exhibition conceived
by Mark Leckey, who was born in 1964. In a multi-disciplinary
practice that encompasses sculpture, sound, film and
performance, Leckey explores the potential of the human
imagination to appropriate and to animate a concept, an
object or an environment.
Leckey’s fascination with the affective power of images
is another recurring theme. Meticulously sourced and
reconfigured archival footage is a predominant feature of some
of his best-known works. Fiorucci Made Me Hardcore (1999)
is a seminal exploration of the history of underground dance
culture in the UK from the mid- 1970s to the early 1990s.
In the recent performance piece GreenScreenRefrigeratorAc-
tion (2010), Leckey sought to communicate the inner life of a
‘smart’ fridge – one that keeps an electronic tally of its con-
tents.
MAY 2011 / 19
ART WIRE

A unique showcase of one-off and limited edition pieces by

leading Australian and Singaporean practitioners whose indi-
vidual practices challenge the notions of art and design. This
collaborative exhibition by Chan Hampe Galleries (Singapore)
and Spiro Grace Art Rooms (Australia) presents a unique op-
portunity for international cultural exchange and is a playful
exploration of cultural identity.

Reflecting on the convergence of art and design disciplines,

‘Inter_ Play’ brings to light the intricacies of inter-disciplinary
‘INTER_PLAY’ practice within contemporary cultural production in the Asia
Pacific region. It also shows the sophistication of the artwork
21.05. 11 – 04.06.11 that the region is producing.
Chan Hampe Galleries@ Raffles
Hotel Arcade With the collaboration, the interweaving of Singapore and
www.chanhampegalleries.com Australia is a testament to the potential of Singapore’s grow-
Singapore ing intercultural significance as a place where the fusion of
ideas can create new combinations. From that, the Lion City’s
artists can explore new possibilities.

London’s Cole Contemporary is presenting Eve Ackroyd’s

paintings at Art HK 11. Ackroyd’s images are sourced from
news pictures of significant events, including plane crashes,
protest marches and religious ceremonies. These are then
transformed into sparse, abstract vistas, indeterminable from
their original source, yet suggestive of dystopian societies en-
gaged in communal or ritualistic activity.

The works consider the place of the individual in these societ-

Cole Contemporary
at Art HK 11
26.05.11- 29.05.11
Hong Kong International Art Fair
www.colecontemporary.com
Hong Kong
ies and interrogate the nature of human relationships; while
the works often portray a range of different characters.
In stripping down images from news footage, Ackroyd ques-
tions the value and currency of the prevalent nature of such im-
ages. While Ackroyd’s work has recognisable elements within
it they also hold back the viewer at an uneasy distance.

20 / TPAG
 ART WIRE

Ricardo Mazal, one of Mexico’s most prominent contempo-

rary artists, shows a series of abstract paintings inspired by
his journey to Tibet’s holiest summit, Mount Kailash, for his
first solo show in Hong Kong. Using a multidisciplinary pro-
cess. Mazal moves between photography, digital technology,
and painting.

In each of his investigations, photographs have been the im-

petus. For Mazal, photography is a bridge that links reality to
abstraction. At regular intervals, Mazal photographs his paint-
KORA - NEW WORK ing in progress.
BY MEXICAN ARTIST
RICARDO MAZAL This newest series of his work is inspired by the sky burials of
Mount Kailash. During his 21-day journey, Mazal documented
14.04.11 – 20.05.11 the striated façade of Mount Kailash, the wood-frame boxes
Sundaram Tagore Gallery of pigments in the frontier town Darchen, and the streams of
www.sundaramtagore.com prayer flags quivering in the wind.
Hong Kong

London’s Patrick Heide Gallery will present the work of Kate

Terry at Art HK 11. Terry’s work often reveals itself slowly and
forms a system that cannot be seen all at once, a very pres-
ent, but tenuous structure that plays with the viewer’s percep-
tions.

Employed with economy and restraint, disrupting the viewers’

Patrick Heide Contemporary
at Art HK 11
26.05.11-29.05.11
Hong Kong International Art Fair
www.patrickheide.com
Hong Kong
depth perception, and perceptions of shapes and structures
in space. The mainstay of Terry’s practice is site-specific in-
stallations that utilise ordinary thread and pins to transform
and delineate spaces.
Responding to architectural features and spatial idiosyncra-
sies as the starting point, Terry subtly manipulates the viewers’
perception of space, creating a new experiential architectural
space with each installation. She constructs the installations
by meticulously pinning threads to opposing surfaces and
then guiding them as they twist and turn.

MAY 2011 / 21
ART WIRE

At London’s Lisson Gallery will present among other artists,

Anish Kapoor, Julian Opie, Richard Deacon, Tony Cragg,
Ryan Gander, Cory Arcangel, Haroon Mirza, Tatsuo Miyajima,
Lawrence Weiner, Richard Wentworth, Jonathan Monk, Tim
Lee, lee Ufan, Sean Snyder and Marina Abramovic.

The collection on offer typifies the generational embrace of

talent that Lisson has made since it was founded in 1967. The
gallery has nurtured artists who have exploited artistic pos-
sibilities and it has made itself into a platform for creators who
Lisson Gallery break the mould to define the generations they belong to.
at Art HK 11
The gallery’s exhibit at Art HK 11 conveys its long and innova-
26.05.11 – 29.05.11 tive history and with such an immense collection to draw on,
Hong Kong International Art Fair it can add to the exciting mix at the fair.
www.lissongallery.com
Hong Kong

London’s ICA presents the first major solo exhibition in a UK

public institution by Nathaniel Mellors. Mellors has produced
a distinctive body of work that combines video, sculpture and
writing.

Mellors installs Episodes 1, 2 and 4 from his new video series

Nathaniel Mellors: Ourhouse
09.03. 11 – 15.5.11
The Institute of Contemporary Arts
www.ica.org.uk
London
Ourhouse (2010-) alongside the animatronic sculpture, Hippy
Dialectics (Ourhouse). Mellors also programmes a series of
events in association with Mark Pilkington’s Strange Attractor
and Junior Aspirin Records.
Ourhouse is set in a manor house in the English countryside
and it portrays the Maddox-Wilson family, an eccentric group-
ing whose roles and relationships shift after the arrival of ‘The
Object’ (an imposing male figure that the family fail to identify
as a human being). The object begins to consume and ex-
crete their books to control language in the house.

22 / TPAG
ART WIRE

MAY 2011 / 23
IN THE FRAME

Spotsign, 2011 Acrylic on Canvas, 180 x 80.3 cm

24 / TPAG
 MASATO SHIGEMORI

Masato
Shigemori
Floating Worlds
Text: Remo Notarianni

T he subjects of Japanese artist Masato Shigemori

peer out of landscapes that belong to fantasy art
but the details are oddly familiar – a Samurai sword,
a sakura flower, and in the distance, a 20th century
cruise ship. These little things provide anchors in a
place that seems hard to describe. To Shigemori, its
very confusion mirrors reality.

MAY 2011 / 25
IN THE FRAME

“In Europe, people are trying to preserve

classic architecture,” said Shigemori, who hails
from the city of Hiroshima in western Japan. “But
in Japan, we had to make new houses because
we lost so many during World War II and most of
them were made of wood. At the same time we
import foreign culture and religions such as Bud-
dhism and Christianity. Then we end up mixing
them. We celebrate wedding parties at a church,
and funerals at a Buddhist temple. We have
Christmas and Halloween. We don’t even under-
stand English, but there is often an American hit
song in the charts.”
Born in 1979, Shigemori seems to eulogise
a world that some would say is vanishing, but
he also celebrates its paradox. He mentions a
landscape fragmented by war but sees some-
thing similar in the ironic jumble of modern life.
This intermingling may create confusion, but it is
also redefining the way we live.
“Androgyny abounds in today’s society,” said
Shigemori. “Boundaries between the masculine
and feminine are blurred in fashion and gender
identity. We use expressions that are increasingly
anachronistic. The Internet has changed our per-
ceptions of distance.”
Artistic clues are found in Shigemori’s range
of influences. Citing Vincent Van Gogh, Amedeo
Modigliani, Pablo Picasso and Tsuguharu Fujita
as inspirations, alongside Ukiyo-e and manga
artists, Shigemori’s personal embrace of diver-
sity is reminiscent of Japan’s artistic history and
the cultural influx that followed the ‘open door’
approach of the Meiji era. His images are imbued
with the ethereal elegance of classical Japanese
art and this brings out their modern influences.
“To date, countries have exported and im-
ported cultures to and from each other,” said
Shigemori, “as illustrated by Japonism in the
19th century, which eventually gave birth to
wayo-secchu, or a hybrid of ‘Western’ and Japa-
nese art. My works are also influenced by such
traditional arts as ukiyo-e (floating world), bijinga,
and kachoga (paintings of the ether world, beau-
tiful women, birds and flowers) that eventually
met their decline in 19th century Japan, and the
cultural movement of Taisho Roman, which re-
flected the fashion and the era of Taisho on such
traditional arts. From a historical point of view,

26 / TPAG
 MASATO SHIGEMORI

Revival 2011, Acrylic on Canvas, 145.5 x 112cm

MAY 2011 / 27
IN THE FRAME

1. Untitled I 2008, Oil on canvas, 40.9 x 31.8 cm

2. Untitled II 2008, Oil on canvas, 40.9 x 31.8 cm
3. Untitled III 2008, Oil on canvas, 40.9 x 31.8 cm

28 / TPAG
MASATO SHIGEMORI

MAY 2011 / 29
IN THE FRAME

Blue Base 2011, Acrylic on Canvas, 72.7 x 50cm

30 / TPAG
 MASATO SHIGEMORI

my works can be described as an offshoot

of the Japonism of Western impressionist
artists and are thus characterised by styles
evocative of retro-futurism.”
In the cultural patchwork of post-1945
Japan, the self-taught Shigemori found an
art education from observation, reading Eu-
ropean art books, and exploring a personal
artistic sense. It was perhaps through this
self-discovery that he found a technical un-
derstanding. Shigemori, who once had an
ambition to be a manga artist, believes in an
intuitive discovery of artwork.
“My biggest theme for the art is not to
describe in detail the object in front of me,”
said Shigemori. “My priority is to draw the
beauty of the object. I think this is a similar
idea to Katsushika Hokusai’s idea of drawing
beautifully whatever he thinks of. I have dif-
ferent styles that include ‘modern’, ‘pop’ and
‘fashion’ but these all come from within.
“I did not believe that I needed to go
to art school because art is not something
that should be studied. For me, art is more
about feelings and sense. I started to paint
with oils when I was five years old and I went
to some art classes. I also did drawing and
handicrafts. I sometimes stood beside artists
for hours to copy painting techniques. I usu- Light Composite 2011, Acrylic on Canvas, 116.7 x 72.7cm
ally focused on the details, so I sometimes
play with art as I want to balance the basic a unique ‘self’ as a combination of diverse
techniques with the creativity. I also did col- expressions and styles, rather than conform-
lage and free painting and I was definitely ing to the absolute idea of individuality. This is
influenced by Japanese cartoons. I can see the approach I take with my art.”
how these were influenced by Hokusai and
Jakuchu Ito. My roots conceptually began
with Western art and that’s where I learned Masato Shigemori was born in Japan in 1979. His
so many different things hands on.” work is included in the exhibition Reminiscence
History has enriched the palette of Japa- that runs at Singapore’s Sunjin Galleries from 5th
nese artists. And in the post-modern scram- May to 22nd May 2011.
ble of ideas, cultural motifs and creative tradi-
tions, painters such as Shigemori have found
an individual style. It is perhaps in the para-
doxical embrace of opposites that unique
styles and combinations are found.
“All views or ideas, despite their con-
trasting nature, reach out to unite with one
another,” said Shigemori. “What we find
beyond this process is our modern society
characterised by an individual’s desire to find

MAY 2011 / 31
FEATURE

Visual
Palindromes:
Never Odd Never Even

Text: Bharti Lalwani

32 / TPAG
 JILL PICKERING

“Whether it is the Orphic Egg described by

Aristophanes- Brahma gestating in the Egg of the
Universe- or the Christian Easter Egg of resurrec-
tion and transformation, the egg with its mysteri-
ous creative life force has been a sacred sign with
symbolic significance for all people on earth.”- Jill
Pickering
Australian-American artist Jill Pickering has
lived in Singapore for ten years and presents her
first exhibition of artworks at Evil Empire on Niven
Road. In this selection of paper works, vibrant
amorphic shapes, undulating on paper, welcome
the viewer into a world of Rorschach-esque pos-
sibilities.
Jill began experimenting with an age-old
paste recipe originally used in the art of book mak-
ing. Literally a ‘hands on’ technique, this method
combined with an organic medium to enable her
to shape patterns and images in an immediate
and tangible way. Over time, she developed the
technique to suit her creative modus operandi,
where the level of control and chance evidence
themselves in the pieces. Working from the back
of the paper folded on its central axis, these visual
“palindromes” are created by intuitive and reflexive
responses to the paper and medium.
“I work blind, so to speak, trusting in the
process and cannot see the final result until it’s
done.”
“ Whether it is the
Orphic Egg described
by Aristophanes –
When the works reveal themselves in their
entirety, the paper works demonstrate the mul- Brahmagestating in the
tifariously layered pigments, tones and textures.
Experimenting with several laborious processes Egg of the Universe- or
with different mediums and inks, the final artwork the Christian Easter
bears intricate forms, designed by elements of
Egg of resurrection
chance and control and coincidentally or even sub-
consciously resembling microbial organisms and and transformation, the
primitive life forms of the micro-cosmic world, not egg with its mysterious
unlike the biological illustrations of marine creatures
documented by 19th century German zoologist creative life force has
Ernst Haeckel. Indeed many of her artworks bear been a sacred sign with
referential titles such as ‘Gorgonida’, ‘Aspidonea’
symbollic significance
and ‘Diatomea’.
Born in the United States and brought up for all people on earth.

”
in Australia, Pickering formally studied dance and
drama but moved through a number of corporate
jobs in a number of cities before returning back to - Jill Pickering
her creative field to specialise in painted effects and
finishes for commercial and residential interiors. In
2000, she moved to Singapore and worked for a

MAY 2011 / 33
FEATURE

34 / TPAG
 JILL PICKERING

while as a docent at the Asian Civilizations Museum

while simultaneously attending various workshops
to hone her skills. These included mask making in
Yale, experimental silk screening at STPI, fresco
making with Pepe Candeloro, a paper marbling
course in Istanbul and so on. Abstract painters from
recent history have also been among her influenc-
es- She attempts to emulate the meditative quality
of artists such as Agnes Martin, Sohan Qadri and
Mark Rothko; the sense of colour and composition
of artists Barnett Newman, Philip Taafe and the psy-
chedelic visual experience of Fred Tomacelli’s art.
Each painting displayed at the exhibition is an
experiment- either in scale, size, form, medium or
technique, some pieces work well and others quite
not so but the artist’s seriousness in involving her-
self with her materials with a willingness to succeed
or fail at every attempt should be encouraged. Curi-
ous about how her work is received by diverse au-
diences and whether her expressions can indeed
resonate with viewers, Pickering’s first exhibition
has provided her with a forum of supportive feed-
back. The challenge for her now for is to evolve her
practice and grow as an artist.

The artist can be contacted at www.jillpickering.com

MAY 2011 / 35
GLIMPSE

Between
Contemporary British artist Gordon Ch-
eung was born in 1975. His multi-media
art intersects two seemingly disparate re-

heaven
alities. He creates a window into a world
between ‘Dystopia’ and ‘Utopia’ which he
believes is the ambiguity of 21st century.
In his work, spray paint, oils, acrylics, pas-

and hell
tels and ink collide against his signature
‘stock listing’ backgrounds. His work is
being presented at the Hong Kong Inter-
national Art Fair (2011) by London’s Alan
Cristea Gallery.
Text: Remo Notarianni

TPAG: Describe your preoccupations as an artist

and the subjects that fascinate you.
GC: I’m fascinated by the way the inventive visual
language of contemporary art reflects humanity in
the modern world. I began using the stock listings
from the Financial Times newspaper in 1994. It was
a period in which affordable mobile phone technol-
ogy and the internet were creating the digital and
communications revolution that has reconfigured
our perceptions of the world. The newspaper
stock listing collages I was making provided a di-
rect means of capturing a sense of this globalised
space. This developed into depicting spaces that
oscillate between Utopia and Dystopia, fused with
images from classical mythology and science-fic-
tion. Philip K Dick and JG Ballard had a huge influ-
ence on my work with their multiplication of realities
and they reflected the fragility of the human mind
and society. From a wider perspective, I am try-
ing to visually manifest some of the meta-systems
which we exist in to raise questions about them.

TPAG: Prior to your formal education as an artist,

what were your inspirations?
GC: My early influences were cartoons, computer
games (I was part of the first generation of home
computer users), TV, fantasy books and geeky
miniature ‘Dungeons and Dragons’ models that I
painted.

TPAG: Explain the process and the mediums you

use in your artwork.
GC: I work on the computer, collecting images from
the internet to create a ‘virtual palette’ from which I

36 / TPAG
 GORDON CHEUNG

create a digital collage and compose a painting. This

is gridded up and enlarged onto pre-prepared stock
listing sheets where all the logos have been removed
to create a pure space of information. These sheets
are then jig-sawed back together on the canvas from
where I spray-paint impasto paint and use other me-
diums to complete the work.

I also make sculptures and videos and for my solo

show at the Alan Cristea Gallery, I have looked into
using lenticulars and the latest 3D TVs. I am always
interested in using any medium that fascinates me
and absorb it into my art, as all of these processes
and techniques have layers of meaning and they are
records of our times.

TPAG: How does your style reflect your aesthetic

intentions?
GC: I try to find the balance between flattening the
pictorial space and maintaining visual depth. Flat-
ness in painting has been important in both Europe
and Asia for different reasons. In classical Chinese
ink landscape painting the ‘empty’ space is ‘filled’
with contemplation and in Modernist Western
painting, flatness is one of the ‘pure’ philosophical
essentials of painting itself. I draw from both histo-
ries of painting and add my own visual interpreta-
tions of living in this era. So spray painted voids
suggesting digital or virtual spaces, scorched black
and white landscapes made of collaged stock list-
ings to compress traditional with science-fictional
spaces made with the materials of the everyday.

I do not exclusively position myself in one or the

other and see myself as in between cultures, draw-
ing inspiration from both, which is probably why
it has led me to being interested in the idea of a
global space where in many ways we are all ‘in-
between’. For example, this can be ‘teleporting’
electronically via messages on phones or the Inter-
net across the globe in a virtual reality space.

The interest in an ‘in between’ space has meant

that I seek to invent ways of visualising places that
are multi-dimensional so that first appearances un-
fold to reveal other spaces for contemplation by
juxtapositioning both Asian and Western subjects,
techniques, material, colour, perspectives
and compositions.

MAY 2011 / 37
GLIMPSE

38 / TPAG
 GORDON CHEUNG

TPAG: What is your opinion of the art scene glob-
ally?
GC: It’s obvious to say that the art scene globally
is evolving with the rise of the ‘Eastern’ contempo-
rary art. I think that in the East, and I am thinking
mostly of China, that artists are working under a
police state that readily censors artworks that they
deem critical of the government or if it transgress-
es taboos by removal or even imprisonment of the
artist. This makes for a far more intense situation
that in my mind means a creative expression in this
context is very powerful. The artists that I admire in
Europe and America are those that deal with multi-
mythological themes that are both classical and
modern and that search for a human expression to
outline the shape of the civilisation they belong to.
about being human, it needs to transmit a meaning-
ful, emotional or poetic message that can last into the
future and give a sense of who we are. If that can
be converged with the political, social, cultural and
historical experiences of our times, then they are all
the more potent as a ‘voice’ in history.
Image credits:
1.Pg 36-37 - Gorden Cheung studio
2. Trophy 6 series - Deer, Boar, Bull
3. Still Life with Tulips on Purple
Alan Cristea Gallery
Booth No: 1D10

TPAG: How do you think artists are evolving in

Asia?
GC: In China, I think that there has been a shift
between focusing on artists who visualise their ex-
periences of Communist China to younger artists
who are born into an era where China has imple-
mented capitalist policies and the generational of
the ideological divide between their parents. The
artists I am really interested in are those who are
making work that ‘remember’ some of the impor-
tant events such as the Sichuan earthquake where
badly built schools collapsed. What hope is there
for preventing these events from re-occurring un-
less they become etched into the culture?

TPAG: What do you think of the present art

scene in the UK?
GC: The UK art scene seemed to be thriving but
our current government has decided to slash 30
percent of funding to Arts Council of England and it
will clearly be a tough time for culture and artists.

TPAG: What do you think of technology in art?

GC: Regardless of increasing new technologies,
the task of an artist is surely to find a voice with
whatever medium can capture a sense of a human
experience of the world. Whether that means using
a stick of charcoal on paper or the latest hi-defini-
tion camera to produce a record of our experiences

MAY 2011 / 39
STORY

Comic belief
Text: Remo Notarianni | Image: Digger T. Mesch

40 / TPAG
 Digger T. Mesch

A gun, made from high-end resin, waits for a script

that could put it in a hero’s hand – one that could decide
a zombie’s quirky fate. The sculpture, recently on display
at the Petra Gallerie in Los Angeles, is co-designed by
American artist Digger T. Mesch. Digger, whose oeuvre
includes sculpture, animation and film, was trained as
a comic artist. A thread of storytelling runs through his
work that, while making him a visual artist, affirms him
as a writer.

“Studying comic art is quite literally studying story-

telling,” said Digger who has focused on film directing
in recent years. “After school, I was known as a sculp-
tor of comic books, film and fantasy related things, as
was my company but we were doing a lot of things that
people did not see along the way such as developing
intellectual property”.

In the 1990s, Digger attended New York’s school

of Visual Arts in Manhattan and though he didn’t stay in
one department for long, and was exposed to so many
things that he “lost his way”, he could put his work in
a fine art context giving an artistic ‘foundation’, which
included travelling in a magic act, a new perspective. In
1992, Digger’s work was exhibited as part of a Whitney
Museum of American Art group show, which included
the first retrospective of American graffiti artist Jean-
Michel Basquiat since he died in 1987.

“The freedom in Basquiat’s work is still one of my

main influences,” said Digger. “I still learn from it when
I look at it. I was drawing and studying comic art at a
young age. By the time I was eight or nine, I had already
met a lot of my heroes like Stan Lee and John Romita
Sr. and Jr. But I have learned from fine artists in different
ways. I love Andy Warhol for his branding skills. I love
everything really from French cave paintings to Japa-
nese Urban Art. You’ve got to be progressive while not

MAY 2011 / 41
STORY

falling prey to being a ‘trend whore. It’s about

not being so wrapped up in your own world
that you forget to hear what sound the world
is making.”
That sense of branding blurred the lines
of business and art when Digger was com-
missioned to sculpt high-end toys and plastic
figures of film characters in the mid-1990s.
He founded a company called Art Asylum,
and began making special effects products as
well as action figures for major motion picture
companies. Expanding the company to Asia in
the late ’90s, these figures became part of a
prelude to a new story in which narrative was
the main art form.
Digger, who settled in Hong Kong, made a
foray into screen acting and found parts in the
internationally released Ultraviolet (2006) and
Largo Winch (2008). He formed a company
called Dig Deep Productions and began work-
ing on music videos and animations. With film
passions re-ignited, he wrote, produced and
acted in A little Less Conversation in 2009.
The short film, about an incident in an Ameri-
can ‘diner’, was an important part of his new
Digger T. Mesch. artistic momentum.
“We shot 95 percent of A Little Less Con-
versation in Hong Kong (substituted for down-
town Los Angeles – not an easy match) for
about US$5,000 of borrowed equipment, a
free revolving crew and begged or stolen food
and locations,” said Digger. “A Little Less Con-
versation was very personal in many ways and
it’s very raw. The script was a 90-page first
draft I restructured in five days into a 30-min-
ute short. The actors, crew and equipment
were coming and going left and right. In es-
sence I shot the whole film homeless.”
This ‘homelessness’ grew into a creative
odyssey when Digger returned to the United
States to establish cinematic ground from
comic art roots. He chose to adapt the work
of comic writer Kevin Eastman (creator of
Teenage Mutant Ninja Turtles, and publisher
of Heavy Metal magazine), for whom he had

42 / TPAG
 Digger T. Mesch

previously done some artwork. He started who has also been asked to direct the su-
with his re-imagining of A Fistful of Blood, a pernatural thriller Compound Fracture, has
graphic novel that Eastman produced with made his visual creations an important part
world-renowned fantasy artist Simon Bisley. of the stories.
“I went back to the USA in 2008 feeling “Dark comedy is what attracts me the
that it was time for me to get a semi-known most,” said Digger. “Films like Scorsese’s
property or some of my more talented, fa- After Hours or the The Big Lebowski by the
mous friends to work with because I’m Cohen Brothers. But I feel like I will never
starting again here in a new field (film) and have a style or be known for any one genre.
while I’m up for paying my dues,” said Dig- I hope not anyway. The last thing I want to
ger. “I asked Kevin if he had a graphic nov- be is pigeonholed. I just want to keep work-
el that I could adapt and he had one. The ing in film, and having the occasional fine art
truth is that along the way it has changed show. I have so much left to do. My mojo’s
so much that we’re changing the name. It’s back and I’m going to give it my all until it’s
not the graphic novel in any way anymore. checkout time”.
I’m proud to finally have Kevin Grevioux on
board writing the script. Kevin is the creator
Story is a column that looks at the connection
of Underworld (among other things) and has
between visual art and narrative.
finally cleared up his project list to start writ-
ing. He’s brought in so many new concepts
to the table that I’m letting him run in his
own direction with it. The new film is titled
Sundown.”
Sundown (Constantine meets The Mag-
nificent Seven) remains a freewheeling horror
romp about demons and cowboys clashing
in the ‘Old West’, and with America’s Old
West Chinese immigrants playing a critical
part of the story, obvious connections have
been made to his time in Asia. Beyond any
metaphors, the story has tested the percep-
tual misunderstandings of East and West.
“The tone of the film is exactly the same
as what we initially intended with Fistful of
Blood but the premise has changed sig-
nificantly,” said Digger. “After being over-run
by demons, a small mining town in the Old
West, is visited by a nameless stranger who
just may or may not be a heaven-sent angel
of death.”
With some of the prototype props Dig-
ger designed for Sundown recently exhibited
at LA’s Petra Gallerie, his talents as a visual
artist have enriched his storytelling as a film-
maker. With his movement into film, Digger,

MAY 2011 / 43
ART LANDS

SINGAPORE:
The Reconnaissance
City
Text: Gladys Teo

44 / TPAG
SINGAPORE

MAY 2011 / 45
ART LANDS

In 1993, when American writer William Gibson

famously described Singapore as “Disneyland with
the death penalty”, he lamented the city-state’s
obsession with consumerism as a by-product of
its creative deficit and inauthenticity. Behind the
comment was the opinion that Singapore shared
similarities with a US mega-corporation fixated on
conformity and designer happiness.
Nearly two decades down the road, Sin-
gapore’s white-shirted management has made
flagship efforts to move the Lion City towards Ho Tzu Nyen - Earth
‘authenticity’, including the decision to develop it
into a global arts city. However, the intention was
ultimately corporatist in nature: the hungry desire
to develop the arts was based on bolstering the
city-state’s economic attractiveness.
In the 2000s, dollars were pumped into the
construction of the Esplanade, a waterfront area in
the north, followed by months of expensive interna-
tionally credible performances in a bid to make the
country a desirable place to live for expats. Incen-
tives were offered for creative businesses like art
galleries and auction houses. Funding for local arts
groups increased exponentially, and public muse-
T. Venkanna - Frida Kahlo phototaking
ums sprouted everywhere. Attempts to stage inter-
national art events have since abounded, but many
have commented on how the inaugural Singapore
Biennale in 2006 linked with the timely hosting of
the IMF and World Bank meetings.
Can the Lion City truly become a global arts
hub? The roles of censorship and funding lie at the
crux of this debate. There have been criticisms that
the state rewards artists who obediently stay away
from taboo subjects like politics and (ironically) cul-
ture with Cultural Medallions and chances to exhib-
it at high-profile art events. Conversely, artists who
have shown resistance towards the dictated path
have been penalised by sheer neglect, threats,
withdrawal of funds, and censorship.
Perhaps too many remember the events that
took place in 1994 among which Josef Ng was
fined for his ‘vulgar act’ which criticised the state’s
view on homosexual men. Other members of The
Artists’ Village and 5th Passage Artists Ltd. were
publicly censured and had funds withdrawn, forcing
many of them including Tang Da Wu and Amanda
Heng to flee the country and practise abroad. A
blanket ban on performance art in Singapore was
imposed for almost ten years.
Simon Fujiwara - Welcome to the Hotel Munber
The ban on performance art was subsequent-
ly lifted in 2003 but the state has not divorced itself

46 / TPAG

from the arts, continually asserting itself through
censorship. Indian artist T. Venkanna was hauled
away by security guards at the inaugural Art Stage
when he sat on a bench nude and took pictures
with visitors. At the recent Singapore Biennale
2011, the Singapore Art Museum infuriated Brit-
ish artist Simon Fujiwara when they removed the
gay pornographic magazines in his installation
Welcome to Hotel Munber without consulting him.
These seem obvious examples but there are oth-
er works that have been censored by authorities
through semantic guises such as ‘rejection’, ‘dis-
couragement’, and ‘shyness from the public eye’
because of their ‘unpublished’ status.
Censorship creates an artistically restrictive
environment where ideas and expression are not
truly free, but some have argued that artists can
develop independent ideas and bring them to frui-
tion without the need to challenge authority. Pro-
ponents of that argument point to Vincent Leow,
who became part of the 1994 controversy when
he drank his own urine in public, who subsequently
“grew up”, worked within the limits and continued
to “create and just make art”.
But why should artists not have the freedom
to explore and develop any idea at all? When key
values of contemporary art such as resistance,
disagreement, and pluralism get subsumed by a
dominant, monolithic theme, that in itself breeds
intolerance of deviance, it ironically encourages
radical art. But homogeneity, the real enemy of the
arts, is propagated. Homogeneity is exactly what
Gibson criticised nearly two decades ago.
In a related manner, homogeneity and confor-
mity are propagated by how the state funds and
recognises its artists. Veteran artist Teo Eng Seng
laments that the National Arts Council, responsible
for the distribution of funding and selection of art-
ists for the various local accolades, is run by “a
bunch of administrators concerned with national
education and balancing the accounts rather than
evaluating artists with merits”. Instead of being
experienced practitioners who recognise true art,
they are open-minded and have the ability to de-
termine real potential.
Teo asserts that the inexperienced NAC inad-
equately follows commercial art trends in picking
artists and the result is a large amount of taxpayers’
money being wasted on “mediocre, repetitive art”.
He points to the recent Singapore Biennale 2011
as an example, where he was not at all impressed
SINGAPORE
with the quality of the works of the exhibited inter-
national and local artists. Teo deemed them similar,
unoriginal, and repetitive. “Look at that German
barn (installation by Elmgreen & Dragset),” he said.
“There are a lot of ideas in that installation but noth-
ing is original, and that Merlion Hotel, is ridiculous,
ugly and says nothing about anything!”
And as the state spent millions of dollars on
the Biennale, efforts by artists seem fruitless. Local
artist Zai Kuning proposed closing Timbre, a food
and beverage outlet that currently sits in the iconic
Substation garden where members of the local art
community used to gather, for the period during
the event— in a bid to return the garden to the
art community. His proposal was rejected on the
grounds of being too expensive.
Teo cautions that when funding sources fol-
low commercial trends, the danger is that local
artists follow suit, copying ideas without truly un-
derstanding them. Thereafter, they produce repeti-
tive, non-intriguing works which can never push
the boundaries nor be considered true art. Verti-
cal Submarine, a trio of young artists who were
awarded the President’s Young Talents Award in
2009, created the much-publicised installation The
Garden of Forking Paths for their first solo show in
2010. However, the installation was a mere physi-
cal representation of a short story, with the same
name, written by Argentinian author Jorge Luis
Borges in 1941. It has been argued that neither
a whiff of originality nor deeper understanding of
Borges’ ideas were present.
True art, according to Teo, lies not just in the
idea itself, but in the development of the idea. He
feels that local artists are neither taught how to, nor
given the chance to fully develop their ideas from
different angles but are instead replicating ideas.
If the double-edged sword of state control and
capitalism holds sway, the cultural-political edge of
contemporary artists in Singapore that existed in
the 1990s will be thoroughly blunted. The socio-
cultural imperative of the 1980s and 1990s has
been replaced with normalised attitudes, and with
that comes inauthenticity and conformity all over
again. Will Singapore ever be a true ‘Renaissance
City’ or a ‘Reconnaissance City’ as Singaporean
writer Alfian Sa’at perceives, “where artists work
with increasing cynicism and disillusionment under
the steady, unflinching eye of the state”?
MAY 2011 / 47
MARKET VOICES
Out of
the Box
At art fairs talent can reach new au-
diences. According to Tim Marlow,
Director of Exhibitions at London’s
White Cube gallery, excellence strikes
a chord that internationally resonates.
Text: Remo Notarianni
Tim Marlow
With the likes of Damien Hirst, Gilbert and
George, Doris Salcedo, and Antony Gormley fill-
ing its halls, White Cube has become synonymous
with creatively groundbreaking artists who are cul-
turally resonant. Art historian and writer Tim Marlow
48 / TPAG
joined the gallery in 2003 as Director of Exhibitions.
He states that its indefinable quality has made it a
canvas for a broad range of talent.
“Choosing the name White Cube was smart
because it was culturally and critically enduring,”
said Marlow who points out that the gallery’s
founder Jay Jopling named it after the 1976 book
Inside the White Cube by Brian O’ Doherty. “Most
commercial galleries name themselves after the
people who set them up, but by not doing that it
has focused more on the artists than the individual
running it. So from the beginning it had that kind
of resonance.”
The gallery, which opened in 1993, staged
solo exhibitions in a square, white room at its ad-
dress on Duke Street before moving to Hoxton
Square. Jopling initially worked with 70 artists and
its space mirrored the city’s evolving art scene as
talent gravitated towards London with its strong art
school system. While it has been associated with
helping to establish the Young Generation of Brit-
ish (YBA) artists such as Damien Hirst and Tracy
Emin in the early 1990s, a majority of the talents
have been born overseas, and they underscored
the cosmopolitanism of the city’s art scene at the
time.
“In the early 1990s, a certain momentum was
building globally but London was nowhere near the
creative capital it has become,” said Marlow. “The
Tate modern is more a symptom than a cause of
the city’s changing fortunes and what artists have
done there. White Cube has very much been a
part of that momentum. As a result of this, If you
become strong in London, by definition, if you are
showing the right kind of art, you stand a chance
of becoming strong internationally.”
White Cube’s presence at international art
fairs has often been preceded by its internation-
ally famous billing. While artists such as Damien
Hirst—whose The Inescapable Truth, the first form-
aldehyde art piece to be sold in Asia, raked in a
staggering 1.75 million pounds at last year’s Art HK
2010—have an obvious collector value, Marlow
recognises an international language encoded in
the artistry. It is one that speaks to an amorphous
crowd, which is also part of an appeal that breaks
down barriers on the global art scene.
“Hirst is among the most significant of con-
temporary artists practising anywhere and can be
 LONDON

Gilbert & George Times of Day 2009

Gilbert & George Bridge Flagsky 2009

MAY 2011 / 49
MARKET VOICES

seen as part of a lineage that includes Andy Warhol “There’s a range of artists we work with,” said
and Jeff Koons,” said Marlow. “He has a profound Marlow. “We’ve done a show in London with Zhang
understanding of the culture within which he oper- Huan. He’s a majorly important performance artist
ates. In the work of all these artists is a kind of cri- who is now making some very interesting painting
tique of late free market capitalism. Hirst fits beauti- and sculptures. His work has appealed to west-
fully into a global perspective. His work deals with, ern audiences and it is strongly engaged with the
as it has always done, the big themes: lifecycle, Chinese culture from which he came. We are only
death, belief, religion and medical science. He is interested in bringing in the most interesting and
one of those rare artists who does seem to strike a significant work but in the end it seems to be art-
chord with a much broader public. So he can oper- ists who seem to strike a chord with us -that’s how
ate on a number of different levels.” it works.”
Marlow refers to artists such as Gilbert and
George, an artist couple represented by White
Cube, who describe themselves as “two people White Cube
one artist”. The artists, who have been creating Booth No: 1K01
since the 1960s, have trademarked a style based
around photomontage, that often involves them-
selves as the subjects, and luminous colours within
a gridline frame. Marlow sees Gilbert and George
as evidence of how art inspired by local subjects,
can also relate internationally.
“Gilbert and George struck a chord in Asia,”
said Marlow. “They were among the first British
contemporary artists to show in China and behind
the iron curtain in Moscow in 1980s. They abso-
lutely have that resonance. Gilbert and George
might be seen as very British. But of all the artists of
that generation, theirs is the broadest CV with their
work in the most collections. They are humanitar-
ian and they say it’s about the perennial subjects—
life, death, money fear and religion. They have this
incredibly well-evolved visual language.
“They are physically at the centre of their own
work and they have proclaimed themselves to be
living sculptures since 1969 onwards. Much of their
subject emanates from that particular part of Lon-
don where they live in the East End around Brick
Lane and Fournier Street. The area is incredibly
diverse and there have been waves of different im-
migrants that have historically moved in there and
in a sense they offer the local and the microscopic
as a way of making sense of the macroscopic and
the international and it is very successful.”
While broadly speaking but not advocating
the position that interesting art is somehow able to
speak a nebulous international language, Marlow
also acknowledges how artists can showcase the
cultures they come from. But he stresses that ulti-
mately artistic excellence speaks for itself.

50 / TPAG

Art HK 11:
Why Asia?
Why now?
In April, Magnus Renfrew, Fair Director of
the Hong Kong International Art Fair, was
in Singapore to talk about Art HK 11. He
revealed his thoughts on its significance,
why its popularity has grown, and how its
success proves that Asia is a world-class
art destination.
Text: Bharti Lalwani
TPAG: With what intention was the HK Art Fair
initiated?
It has been our intention from the outset to create
an international art fair for Asia with three core val-
ues, and the first is policy. If one is trying to attract
major international galleries it is important to have
international standards.
The second core value that we wanted to build on
was geographic diversity- I think there is a sense
of art fair fatigue in the West. There is an art fair in
most capital cities worldwide and we want to differ-
entiate ourselves from those. Many of the art fairs
in the West have a very western-centric view of the
world, much of the work is from Europe or America
with a western culture and aesthetic background
and we wanted an art fair which was more reflec-
tive of a wider world view. We have 10 new coun-
tries being represented this year.
And the third core value is accessibility. Different
people need to be able to engage with art. The
best art fairs in the world are those which are more
than just about the trade. But it can also be a plat-
HONG KONG
form for networking, a place of exchange. In our
first year we had 19,000 visitors, galleries from 38
different countries and last May we had 40,000
visitors.
TPAG: So, how is Art HK different this year?
The most exciting new development for us this year
is the introduction of a new section called Asia One
- this section is dedicated only to galleries from
Asia. These galleries are selected on the basis of
their proposal to showcase an artist of Asian origin.
When one walks around the fair it must be rather
confusing to see a whole variety of works put to-
gether so we’ve created this new section which will
have a much more curated feel and one can see
an artist’s works in context. You can see five or ten
works by a single artist and it makes more sense
knowing where the artist is coming from.
We also have the Art Futures section—which is
a section which showcases galleries which have
been in operation for the last two years. It’s de-
signed to showcase younger galleries who have
been operating for less than five years. This also
means we will have younger and newer artists at
the fair. Also, the artists have to be younger than 35
years of age at the time of participation.
Alongside the art fair, we have Parasite Art space
conducting guided tours through the fair in Eng-
lish, Cantonese and Mandarin for the general pub-
lic and we also have initiatives for schoolchildren
and young kids as well. To conclude we have really
established ourselves as a leading international art
fair of global significance. We provide both curators
and collectors an incredible event a new place to
explore rather than going off to New York or Lon-
don.
TPAG: What do you attribute this global success
to?
Well, it’s very clear that things are moving east-
wards anyway. It’s been quite an interesting pro-
cess to put the fair together when we first started
– galleries were very skeptical partly because they
didn’t know us but also because they didn’t under-
stand Asia particularly well. Over the last few years
MAY 2011 / 51
MARKET VOICES
people were asking, “why Asia?” What they didn’t
ask was, “why Asia now?” It didn’t make sense to
them in terms of their long-term strategy. We saw
that there was great opportunity here very early on
but I do think that the economic downturn in the
West has accelerated things somehow. And as the
traditional art centres – New York and London have
been less buoyant in recent years and everyone is
looking to expand to newer markets for the growth
of their businesses.
TPAG: So was it a challenge to convince most
of these galleries to participate in the first HK art
fair?
Absolutely! Yes, very much so! I was on 40 flights
in six months speaking to various galleries and per-
suading them to come. We had a very respectable
line-up the first time: 101 galleries. We had a stron-
ger line up of Asian galleries than the western ones
and it was quite a challenge to convince galleries
from the west to come as it’s a huge expense for
them and therefore a risk.
TPAG: And now you have a string of galleries that
are usually seen in Basel, such as the Gagosian,
Almine Reich, White Cube and Emmanuel Perro-
tin among others; what expectations are
they coming to HK with?
One of my key roles is to manage the expectations
of such galleries. It would be very easy for us to
sell them the idea that Hong Kong is where they
are going to make blockbuster sales but no, these
things take time- time to build the audiences, time
to build the market and I think that galleries see
the importance of being part of that very process.
It’s really important to engage collectors and im-
portant buyers in conversations which will educate
them. And in terms of reducing the intimidation fac-
tor- what you would find in Basel - we prime the
participants ahead of time and give them some in-
formation about our experience of doing business
in Asia and what aspects they should emphasise.
52 / TPAG
TPAG: Do you see these fairs as competing
against each other or as places that help art in
Asia build its audiences?
Well, I think the more opportunities there are for
people to see art and learn about it the better, but I
think it is too early to comment as the market here
is still developing. Of course I am at the very begin-
ning of learning about art in Asia and many galler-
ies have been generous with their time in helping
me understand the subtleties and character of their
art. We believe we should emphasise those galler-
ies who promote art practice, I think with most of
these galleries there is a huge emphasis on their
curatorial program and presenting the context of
their art works.
People talk very much about art as investment in
Asia, I think it’s very important that the buying
of art in Asia is underpinned by its critical and cu-
ratorial acclaim, and I think it’s very important that
we try and build a cultural ecology if you like, which
can sustain artists’ creativity in the long term rather
than subjecting them to the whims of the market.
It’s very early days for us to point out the trends
in buying as it were. In the first year, at the height
of the market, people were very much buying with
their eyes- many collectors bought works which
they genuinely liked. In year two we established
a reputation in Asia where the buying happened
more at the top end of the price bracket.
TPAG: So do you reach out to local schools?
We are working with a Hong Kong non-profit or-
ganisation called 1a Space. They are putting to-
gether a program called TLC – Travel to Learn in
the City. This is a program to educate the educa-
tors. Participating teachers will be provided with
education packs and a tour of the Fair and encour-
aged to return with their school group. 1a Space
will be working with around 50 schools and we
have given 60 tickets for teachers and 300 for pu-
pils free of charge.

Heri Dono:
escaping from the herd
Text & IMAGE: Daniela Beltrani
In the courtyard of the Galeri Nasional in Ja-
karta, there appeared to be a surreal, politically-
charged hallucination. At first glance, it could have
been anywhere in the world; an expectant mob
lined up under the portico, locked in gaping awe
at the man on the stage, 51-year-old Indonesian
artist Heri Dono.
The artist, hair tied in a ponytail, unusually
dressed in jeans, jacket and tie, preached from a lec-
tern with subservient microphones. Behind him was
a flag of the United Nations, flanked by two over-
powering images of men with ovine heads in suits.
Immediately facing him, a herd of goats, cov-
ered in sandy-coloured coats, each emblazoned
with a red star, seemed to be the real audience.
Their occasional bleating sounded like a conscious
HERI DONO
response to the speech in Bahasa Indonesia. The
live painting that unfolded in front of me was remi-
niscent of George Orwell’s Animal Farm.
The familiarity of the image of a political
speaker turned the artist into an archetype; a
philosophical wildcard who demonstrates that the
seat of power looks the same, whoever might be in
it. Perhaps this was the visual statement that Heri
Dono was making by putting himself at the centre
of the work.
I asked Bambang Asrini Widjanarko, the cura-
tor of the group exhibition Sin City, which will fea-
ture a 10-minute video of what unfolded in front of
me, its meaning.
The art of Heri Dono is imbued with a seem-
ingly nonsensical yet satirical language, but the
MAY 2011 / 53
PERSPECTIVES

message finds a voice in his distinctive imprints. When

put in an Indonesian context, the message hits home.
This one is aimed at raising awareness amongst the
kelas kambing (literally, the goat class, the lower class)
about the situation the upper echelons in Indonesia,
backed by the interests of world powers, has forced
them to live in.
Injustice, victimisation, and half-implemented
laws are just a few of the general topics he raised from
issues such as transportation system problems in Ja-
karta or the government’s plan to build a nuclear power
plant near the base of Mount Muria, Central Java.
The ubiquitous presence of seemingly reassuring
symbols, such as the U.N. flag, serves the cohorts of
the Indonesian ruling class. Whilst the lower classes
stay the same, the world of the privileged few expands
through greed and hubris at international levels.
The presentation of the artist as a politician cre-
ated a rather schizophrenic stratagem, because the
content (the resounding truth in his words) and form
(the persona of the politician) did not complement each
other. But ingeniously, it is the artistic context Heri Dono
provides that makes the content real and reconciles the
discrepancy.
Since the beginning of his artistic career in 1977,
Heri Dono has been conscious of the prophetic role of
the artist in creating awareness amongst the masses.
His art therefore puts the necessary element of creative
aesthetics in a socio-political context.
Consequently, Heri Dono was an understandable
inclusion in Bambang’s curatorial efforts. Inspired by
Documenta XI, in the German city of Kassel, directed
by the brilliant Okwui Enwezor, it offered a provocative
Indonesian platform, where global socio-political issues
are discussed at an urban level, in a place called Sin
City.
But the city referred to has nothing directly to do
with ethics, as the title may imply; rather it refers to
Frank Miller’s neo-noir comics of the 1980s, in which a
dark, imaginary urban environment is roamed freely by
criminals, who think they are above the law. And per-
haps, the title may become an omen, if we collectively
stand in the midst of our own mental and factual inertia
and sit back as a moral disease eats into our society
and makes it decay.

Sin City, Galeri Nasional Indonesia, Jakarta, 8th -17th April 2011.

54 / TPAG

IT’S NOW OR NEVER II:
When the materials transcend the work
Text: Richard Chua
When a museum asks the question: “What is
installation art in the Southeast Asian context?” – it
probes into the make-up of highly creative struc-
tures that find a context in Indian and Buddhist
influences that have traditionally permeated the
cultural landscape. With the exhibition It’s Now or
Never II; New Contemporary Art Acquisitions from
Southeast Asia, the Singapore Art Museum show-
cased interesting contemporary artists who prac-
tise installation art in the region and it emphasised
the artistic significance of the materials used.
This second instalment of the two-part show-
case of SAM’s latest acquisitions of contemporary
art presented mainly two-dimensional works by
Singaporean and Singapore-based artists, where
IT’s Now or Never II
the focus of the exhibition is on artists from the
wider Southeast Asian region working with instal-
lation art. The exhibition presents works by South-
east Asian artists such as Chun Kaifeng (Singa-
pore), Geraldine Javier (The Philippines), Shahrul
Jamili Miskon (Malaysia), Wit Pimkanchanapong
(Thailand) and Jompet Kuswidananto (Indonesia).
In its media release, the museum states that
the exhibition will examine the specificity and diver-
sity of the material in the artworks. The museum’s
objective has largely been met, for the materials
were successfully transformed into an artistic ex-
perience that is predicated on a subdued subver-
siveness – if that experience can be understood by
the materials themselves.
MAY 2011 / 55
PERSPECTIVES

Chun Kaifeng’s works He is Satisfied, shown from

Monday to Friday, and He Loves to Cry successfully
constructed a space that reflects the contemporary
living conditions of young urbanites, where the pursuit
of aesthetics and social fads have rid them of their
sense of purpose and belonging— a result of extreme
capitalistic consumption, and a Sisyphean attempt at
archiving a utopian state of self-actualisation.
On the other hand, Malaysian artist Chia Yoong
Chia seems to have made the material—a normal
Chinese kitchen soup spoon— transcend its usual
function. A series of paintings based on the story of
a mother’s lament of her son’s departure, only to rea-
lise right at the end that her son was there all along.
The spoon – traditionally a Chinese symbol of bond-
ing when it comes to family dinners – seems to have
acquired another meaning, one that is more profound
than many others.
Perhaps the most impressive piece was Indone-
sian artist Jompet Kuswidananto’s Java’s Machine:
Phantasmagoria; an installation that reconstructed
phantom Javanese royal army troops, clad in Dutch
military headgear, in a ceremonial procession and Ja-
vanese warrior costumes. Theatricality underscores
the piece with the phantom army soldiers playing
drum beats in well co-ordinated intervals, sending
chills down the spectators’ spines in the process.
As much as the other artists have also exhib-
ited dexterity in transforming the materials into an
unforgettable viewing experience, a special mention
to Kamin Lertchaiprasert’s (Thailand) Lord Buddha
Said If You See Dhamma You See Me, 2003; in which
old bank notes were used to sculpt images of Lord
Buddha. There may be no-one better than the three
artists above to create works that spectators will re-
member for a long time to come. But, most important
of all, the experience is not fully predicated on aes-
thetics alone, but on an artistic experience.

56 / TPAG
MAY 2011 / 57
 A

CM

MY

CY

CMY

Montage III - Zu Garbriele Mistral”, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s

56 / TPAG
Art Trove Call f
 Art Trove

960s

51, Waterloo Street, #02-01/02/03, Singapore 187969

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment
Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, enquiry@art-trove.com
ww.art-trove.com MARCH 2011 / 57
 SINGAPORE’S ART & BU
KIT
HERITAGE DISTRICT RD
TIM
AH
TS RD
OT
SC

RD
CLE

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OO
MEN

NG
CEA

RA
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- Art Forum
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Royal on Scotts
F OR RD R
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Third Floor Hermes D - Heng Artland

NTR
- Jasmine Fine Art
- Sin Hua Gallery

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Night & Day
- Drawing Gallery
Opera Gallery

SELEGIE RD
Vue Privée

M.A.D
(Museum of Art & Design)

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ORC

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Foundation Oil

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Painting

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The Picturehouse
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Young Musicians’ Society
ORC
HAR
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Singapore
Calligraphy Centre
Art Trove, The Private RO
BR Museum, M Gallery, C
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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

Singapore Philatelic Chan Hampe

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DBS Arts Centre Museum Galleries

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Singapore Repertory Theatre RI

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58 / TPAG
 HO
DEMPSEY, HOLLAND, TANGLIN & WESSEX
AN
DR
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LEGEND
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EXPRESSWAY

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Source
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Botanical Garden SIM
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Ha Karen Art Gallery GALLERY SPOTTED
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Barrosa Studio, D’Art, Geeleinan Art
Gallery & Studio, Kelly Reedy Studio
Arts, Marisa Keller, Sealey Brandt
Photography Studio,

Art Trove Gallery

51 Waterloo Street
RI #02-01/2/3
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F: +65 6336 9975
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Artcommune Gallery,
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Ken Crystals Call for private viewing

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KE
MARCH
MARCH 2011
2011 // 63
61
DIRECTORIES
SINGAPORE GALLERIES
A 328 North Bridge Road
AndrewShire Gallery 5 Swiss Cottage Estate
Aratong Galleries 26 Mount Pleasant Drive
Art Facet 10 Anson Road #19-08
Art Forum 82 Cairnhill Road
Art Glass Solutions 30 Kuo Chuan Avenue
Art Seasons 7 Kaki Bukit Road 1 #02-12
Art Tree Gallery 333A Orchard Road #04-11
Art Trove
51 Waterloo Street
#02-01 to 03
Singapore 187969
T: +65 6336 0915
www.art-trove.com
Art-2 Gallery 140 Hill Street #01-03
artcommune 133 New Bridge Road #02-77
Artfolio 328 North Bridge Road #02-25
ArtGoGo 402 Orchard Road #02-08
ARTINNO 391B Orchard Road #23-01
ARTXCHANGE Gallery
6 Eu Tong Sen Street
#02-65 The Central
Singapore 059817
T: +65 9027 3997 (Benny)
www.artxchangegallery.com
Arty Art Gallery 686A Woodlands Drive 73 #15-52
B #04-02
Bartha & Senarclens 75 Emerald Hill Road
Boon’s Pottery
91 Tanglin Road
#01-02A Tanglin Place
Singapore 247918
T: +65 6836 3978
www.boonspottery.com
Bruno Gallery
91 Tanglin Road
#01-03 Tanglin Place
Singapore 247918
T: +65 6733 0283
www.brunoartgroup.com
C
Cape of Good Hope 140 Hill Street #01-06
CdeM ART & DESIGN Blk 5 Westbourne Road #01-02
Collectors Contemporary 5 Jalan Kilang Barat #01-03
COMBINART 27 Woodlands Industrial Park E1 #01-08
64 / TPAG
Chan Hampe Galleries
@ Raffles Hotel
#01-04 Raffles Hotel Arcade
Singapore 188719
T: +65 6338 1962
@ Tanjong Pagar
21 Tanjong Pagar Road
#04-02
Singapore 088444
T: +65 6222 1667
www.chanhampegalleries.com
D
d’Art 5 Westbourne Road #02-03
D’Peak Art Space Kaki Bukit Road 1 #01-07
DaTang Fine Arts Singapore 177 River Valley Road #02-09A
DLR Gallery 22 Marshall Road
Dynasties Antique & Art Gallery 18 Boon Lay Way #01-136
E
Eagle’s Eye 39 Stamford Road #01-01
Echo Art Galerie 19 Tanglin Road #02-59
Evil Empire 48 Niven Road
F
fill your walls
21 Tanjong Pagar Road
Singapore 088444
T: +65 6222 1667
www.fill-your-walls.com
Forest Rain Gallery
261 Waterloo Street
#02-43/44
Singapore 180261
T: +65 6336 0926
www.forestraingallery.com
FOST 65 Kim Yam Road
G
Galerie Belvedere 168 Robinson Road #36-01
Galerie Waterton 39 Keppel Road #02-01
GJ Asian Art 1 Cuscaden Road #01-03
The Gallery of Gnani Arts 1 Cuscaden Road #01-05
Gallery Reis 390 Orchard Road #03-01/02
H
HaKaren 19 Tanglin Road #02-43
Heng Artland 290 Orchard Road #04-08
 DIRECTORIES

I
Impress Galleries 1 Kim Seng Promenade #02-07/08
Indigo Blue Art 33 Neil Road P
INSTINC 12 Eu Tong Sen Street
iPRECIATION 1 Fullerton Square #01-08 Pop and Contemporary Fine Art
390 Orchard Road
#03-12 Palais Renaissance
K Singapore 238871
T: +65 6735 0959
KARTESTUDIO 181 Orchard Road #B2-23/29 www.popandcontemporaryart.com
Ken Crystals
133 New Bridge Road
#01-45 Chinatown Point
Singapore 059413 R
T: +65 6339 0008
E: kencrystals@yahoo.com.sg ReDot 39 Keppel Road #02-06
Red Sea 9 Dempsey Road #01-10

Kwan Hua 19 Tanglin Road #02-09

S
S.Bin Art Plus 140 Hill Street #01-10/11/12
L
L2 Space 39 Keppel Road #02-02A Galerie Sogan & Art
Larasati www.larasati.com 33B Mosque Street
Linda Gallery 15 Dempsey Road #01-08 Singapore 059511
T: +65 6225 7686
Li Fine Art www.soganart.com
19 Tanglin Road
#03-32 Tanglin Shopping Centre
Singapore 247909 Sun Craft 19 Tanglin Road #02-08
T: +65 6235 3306
www.lifineart.com Sunjin Galleries
43 Jalan Merah Saga
Light Editions Gallery 39 Keppel Road #02-02B #03-62 Work Loft @ Chip Bee
Living Portraits 31 Tanjong Pagar Singapore 278115
Lukisan Art Gallery 110 Faber Drive T: +65 6738 2317
www.sunjingalleries.com.sg

M
M Gallery 51 Waterloo Street #03-03B/04
Metakaos 1 Kaki Bukit Road 1 #03-22 T
Mulan Gallery 36 Armenian Street #01-07 Tasa Gallery 89 Short Street
Tembusu 140 Hill Street #01-05
Muse The Art Gallery
The Gallery of Gnani Arts One Cuscaden Road #01-05
268 Upper Bukit Timah Rd
The Peach Tree 129 Tanglin Road
#03-09 @ The Old Fire Station
Singapore 588210 The Tolman Collect 82 Cairnhill Road
T: +65-8388 0044
www.musetheartgallery.com
U

O Utterly Art LLP

Ode to Art 252 North Bridge Road #01-36E/F 229A South Bridge Road
Ooi Botos Gallery 11 One Tree Hill
Singapore 058778
T: +65 9487 2006
Opera Gallery 2 Orchard Turn #03-05
+65 6226 2605
www.utterlyart.com.sg
OVAS Art Gallery
9 Penang Road
#02-21 Park Mall
Singapore 238459
T: +65 6337 3932
www.ovas-home.com

MAY 2011 / 65
DIRECTORIES
V Singapore Art Museum 71 Bras Basah Road
Valentine Willie Fine Art 39 Keppel Road #02-04
VITRIA 17 Chee Hoon Avenue
Vue Privee 20 Cairnhill Road
W
Wai’s Art Gallery 6 Eu Tong Sen Street #02-64
Wetterling Teo Gallery 3 Kim Yam Road
White Canvas Gallery 78 Guan Chuan Street
X ArtSpace at Royal Plaza Hotel 25 Scotts Road
Xuanhua Art Gallery 70 Bussorah Street
Y Give Art 65 Spottiswoode Park Road
Yang Gallery 19 Tanglin Road #02-41
YAVUZ Fine Art 51 Waterloo Stree #03-01
Yisulang Art Gallery
6 Handy Road
#01-01 The Luxe
Singapore 229234
T: +65 63376810
www.yisulang.com
Your MOTHER gallery 91A Hindoo Road
# Ngee Ann Cultural Centre 97 Tank Road
2902 Gallery 11 Mount Sophia Block B #B2-09
ART AUCTIONEERS / DEALERS
Black Earth Auction 367 Joo Chiat Road
Borobudur www.borobudurauction.com
Masterpiece www.masterpiece-auction.com
Y2ARTS 140 Hill Street #01-02
33 Auction www.33auction.com
MUSEUMS
Asian Civilisations Museum www.acm.org.sg
Changi Museum 1000 Upper Changi Road North
The Luxe Art Museum
6 Handy Road
#02-01 The Luxe
Singapore 229234
T: +65 6338 2234
www.thelam.sg
MAD Museum of Art & Design 333A Orchard Road #03-01
MINT Museum of Toys 26 Seah Street
National Museum of Singapore 93 Stamford Road
Peranakan Museum 39 Armenian Street
Post Museum 107/109 Rowell Road
The Private Museum 51 Waterloo Street #02-06
Red Dot Design Museum 28 Maxwell Road
RSAF Museum 400 Airport Road
66 / TPAG
SAM at 8Q 8 Queen Street
Singapore Coins and Notes Museum
2 Trengganu Street Level 3
Singapore Navy Museum 32 Admiralty Road West
Singapore Philatelic Museum 23B Coleman Stree
VENUES / ASSOCIATIONS / GROUPS
Alliance Française de Singapour 1 Sarkies Road
Art Retreat (Wu Guanzhong Gallery)
10 Ubi Crescent #01-45/47
ARTSingapore www.artsingapore.net
COMBINART 27 Woodlands Industrial Park E1 #01-08
Esplanade 1 Esplanade Drive
Emily Hill 11 Upper Wilkie Road
Gnani Arts Space 190 Middle Road #02-03/31
Jalan Bahar Clay Studios 97L Lorong Tawas
JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2
La Libreria 50 Kent Ridge Crescent Level 3
Little Red Shop www.littleredshop.org
Mercedes-Benz Center
301 Alexandra Road
Singapore 159968
T: +65 6866 1888
www.mercedes-benz.com.sg
Night & Day 139 A/C Selegie Road
Osage 11B Mount Sophia #01-12
Post-Museum 107+109 Rowell Road
Public Art Space (Pan Pacific) 7 Raffles Boulevard
Sculpture Square 155 Middle Road
Sinema 11B Mount Sophia #B1-12
Singapore Art Society 10 Kampong Eunos
Singapore Contemporary Young Artists
www.contemporaryart.sg
The Art Gallery 1 Nanyang Walk
The Arts House 1 Old Parliament Lane
The Gallery (SMU) 90 Stamford Road
The Picturehouse 2 Handy Road
The Substation 45 Armenian Street
Third Floor – Hermès 541 Orchard Road
Victoria Theatre & Concert Hall 11 Empress Place
Volvo Art Loft 249 Alexandra Road
72-13/TheatreWorks 72-13 Mohamed Sultan Road
ART SERVICES
m’a ARTS
Transportation & Installation of Art
Works Other art related services.
+65 8611 5280
alfred@maarts.com.sg
 DIRECTORIES

Ray’s Transport & Services
Artwork Installation &
Delivery Services
All other Art related services
+65 91522511
artswithray@gmail.com
FRAMERS
Ace Framing Gallery 226 River Valley Road
Frame Hub Gallery 46A Lorong Mambong
Peter’s Frames 19 Tanglin Road
CONSERVATION / RESTORATION
Benaka Art Conservation
Private Ltd
64 Taman Warna
Singapore 276386
T: +65 9105 4377 / +65 6100 2707
www.benakaartconservation.com
ARTIST STUDIOS
Barrosa Studio 4 Woking Road #01-02
Chieu Sheuy Fook Studio
Studio 102
91 Lorong J
Telok Kurau Road
Singapore 425985
+65 96690589
email: chieusf@gmail.com
DreamSpace Art Studio
艺术创作，专业绘画教育。
19 China Street
#03-04/05 Far East Square
Singapore 049561
+65 9168 7785
www.hill-ad.com.sg
Foundation Oil Painting
(conducted by Mr Wee Shoo Leong)
155 Waterloo Street
#01-04 Stam ford Arts Centre
Singapore 187962
+65 9726 2028
www.foundationoilpaintingclass.com
Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03
Jeremy Ramsey Fine Art 16 Bukit Pasoh Road
Kelly Reedy - Studio Arts 27 Woking Road #01-01
Ketna Patel 35 Jalan Puteh Jerneh

Koeh Sia Yong 许锡勇

10 Kampong Eunos
Singapore 417774
+65 9671 2940
e: koehsy@singnet.com.sg
www.yessy.com/koehsiayong
www.koehsiayong.artfederations.com

Marisa Keller 28 Woking Road #03-05

Sealey Brandt Photography Studio
1 Westbourne Road #01-02
Telok Kurau Studios 91 Telok Kurau Lorong J

ART SCHOOLS
Bhaskar’s Art Academy 19/21 Kerbau Road
LASALLE 1 McNally Street
Nanyang Academy of Fine Arts 38/80/151 Bencoolen St
NTU (School of Art, Design & Media) 81 Nanyang Drive
NUS Museum 50 Kent Ridge Crescent
School of the Arts (SOTA) 1 Zubir Said Drive
Sotheby’s Institute of Art 82 Telok Ayer Street
The Republic Cultural Centre 9 Woodlands Avenue 9
The Singapore Tyler Print Institute 41 Robertson Quay
TOURIST SPOT
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
Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782
CHIJMES 30 Victoria Street +6336 1818
Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556
Chinese Garden 1 Chinese Garden +65 6261 3632
Crocodilarium 730 East Coast Parkway +65 447 3722
Escape Theme Park 1 Pasir Ris Close +65 6581 9112
Fort Canning Park 51 Canning Rise +65 6332 1302
Goethe-Institut Singapur 163 Penang Road #05-01
Johore Battery Cosford Road +65 6546 9897
Jurong Bird Park 2 Jurong Hill +65 6265 0022
Kranji War Memorial 9 Woodlands Road
Lim Bo Seng Memorial Esplanade Park
Malay Heritage Centre 85 Sultan Gate +65 6391 0450

MAY 2011 / 67
DIRECTORIES
Malay Village 39 Geylang Serai +65 6748 4700
Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036
Marina Barrage 8 Marina Gardens Drive +65 6514 5959
Marina Bay Sands 10 Bayfront Avenue +65 6688 8868
Masjid Sultan Kampong Glam
Merlion Park Fullerton
Mount Faber +65 6270 8855
National Archives of Singapore 1 Canning Rise +65 6332 7909
National Library Singapore 100 Victoria Street +65 6332 3255
National Parks Board 1800 471 7300
Night Safari 80 Mandai Lake Road +65 6269 3411
Parliament House 1 Parliament Place +65 6336 8811
Raffles’ Landing Site North bank of the Singapore River
Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510
Resorts World Sentosa 39 Artillery Avenue +65 6577 8888
St. Andrew’s Cathedral 11 Saint Andrew’s Road
Science Centre Singapore / Omni Theatre 15 Science Centre
Road +65 6425 2500
Sentosa 1800 736 8672
SIA Hop-on +65 9457 2896
Singapore Botanic Gardens 1 Cluny Road +65 6471 7361
Singapore Cable Car +65 6270 8855
Singapore City Gallery 45 Maxwell Road +65 6321 8321
Singapore Discovery Centre
510 Upper Jurong Road +65 6792 6188
Singapore Expo 1 Expo Drive +65 6403 2160
Singapore Flyer 30 Raffles Avenue +65 6734 8829
Singapore Turf Club 1 Turf Club Avenue +65 6879 1000
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
Sri Mariamman Temple 244 South Bridge Road
Sun Yat Sen Nanyang Memorial Hall
12 Tai Gin Road +65 6256 7377
Supreme Court 1 Supreme Court Lane +65 6336 0644
Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65
6794 1401
Taxis
- Comfort/YellowTop +65 6552 1111
- CityCab +65 6552 2222
- Premier +65 732 2516
- Smart +65 6485 7777
- Tibs +65 6555 8888
- Transcab +65 6555 3333
Thian Hock Keng Temple 158 Telok Ayer Street
Touristline 1800 736 2000
Underwater World 80 Siloso Road +65 6275 0030
Universal Studios 8 Sentosa Gateway +65 6577 8888
War Memorial Park Bras Basah Road & Beach Road intersection
MALAYSIA ART GUIDE
+Wondermilk Art Gallery www.theclickproject.com
12 (Art Space Gallery) www.12as12.com
A2 Gallery www.a2artgallery.com
Annexe Gallery www.annexegallery.com
Art Case Galleries www.artcase.com.my
Art Expo Malaysia www.artexpomalaysia.com
Art House Gallery www.arthousegallery.biz
Art Loft www.artloftgallery.net
Art Salon @ Seni www.theartgallerypg.com
Artseni Gallery www.artseni.com
CHAI (Instant Cafe House of Arts and Idea) www.
instantcafetheatre.com
68 / TPAG
City Art Gallery
Edi.A Art Gallery www.ediarts.blogspot.com
Galeri Chandan www.galerichandan.com
GALERI PETRONAS www.galeripetronas.com.my
Galeri Shah Alam www.galerisa.com
galleriiizu @ Shangri-La Hotel www.galleriiizu.com
Henry Butcher Art Auctioneers www.hbart.com.my
House of Matahati (HOM) www.matahati.com.my
Islamic Arts Museum www.iamm.org.my
Lookiss www.lookissgallery.com
Lost Generation Space www.lostgenerationspace.blogspot.com
Malaysia National Art Gallery www.artgallery.gov.my
MERAH: Mansion for Experimentation, Research, Arts and
Horticulture www.facebook.com/pages/MERAH/148050170487
Metro Fine Art www.metro3gallery.com
NN Gallery www.nngallery.com.my
Pace Gallery www.pacegallery.net
Pelita Hati www.pelitahati.com.my
Pinkguy Gallery www.pinkguymalaysia.com
Richard Koh Fine Art www.rkfineart.com
Rimbun Dahan www.rimbundahan.org
RougeArt www.rogueart.asia
Shalini Ganendra Fine Art www.shaliniganendra.com
The Gallery @ Star Hill www.starhillgallery.com
Valentine Willie Fine Art www.vwfa.net
Wei-Ling Gallery www.weiling-gallery.com
Y 2 S Art Space www.y2sart.com.my
ZINC www.zinc.com.my
HONG KONG ART GUIDE
Amelia Johnson Gallery www.ajc-art.com
I/O Input Output www.inputoutput.tv
Karin Webber Gallery www.karinwebbergallery.com
MADHOUSE Contemporary www.madhouse.com.hk
LONDON ART GUIDE
Jealous Gallery 27 Park Road N8 8TE Crouch End London
AICON GALLERY London 8 Heddon Street, London W1B 4BU
The Air Gallery 32 Dover Street, London W1S 4NE
Kings Place Gallery 90 York Way, London N1 9AG
Serpentine Gallery Kensington Gardens, London W2 3XA
Walton Fine Arts
154 Walton Street, Knightsbridge, London SW3 2JJ
Chinese Contemporary
The Studio House, 7/9 Edith Grove ,London, SW 10 0JZ
Richard Green147 New Bond Street, London, W1S 2TS
Lisson Gallery 52-54 Bell Street, London, NW1 5DA
South London Gallery 65 Peckham Road, London SE5 8UH
The Brick Lane Gallery 196 BRICK LANE, E1 6SA London
The Hart Gallery 113 Upper Street, Islington London N1 1QN
Danielle Arnaud contemporary art
123 Kennington Road, London SE11 6SF
Hai Gallery 46a Harrowby Street, Marble Arch, London W1H 5HT
Halcyon Gallery 24 Bruton Street, London W1J 6QQ
 DIRECTORIES

EUROPE ART GUIDE Contemporary Istanbul Art Fair

FLO PETERS GALLERY www.contemporaryistanbul.com
Chilehaus C Art Stage Singapore www.artstagesingapore.com
Pumpen 8 India Art Summit www.indiaartsummit.com
20095 Hamburg, Germany Art Dubai www.artdubai.ae
+49 40 3037 4686 Contemporary Istanbul Art Fair
www.flopetersgallery.com www.contemporaryistanbul.com

© Elliott Erwitt/MAGNUM Photos

GALERIE CHRISTIAN LETHERT

Antwerpener Strasse 4
D - 50672 Köln (Cologne) Germany
+49 (0)22 1356 0590
www.christianlethert.com

UNITED STATES ART GUIDE

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
Art Daegu www.artdaegu.com
Melbourne Art Fair www.artfair.com.au/fair
Auckland Art Fair www.aucklandartfair.co.nz
Asia Top Gallery Hotel Art Fair Seoul (AHAF)
www.hotelartfair.kr
Art Taipei www.art-taipei.com
SH Contemporary www.shcontemporary.info
Shanghai Art Fair www.sartfair.com
ARTSingapore www.artsingapore.net
Fine Art Asia www.fineartasia.com
Art Canton (Canton International Art & Collection Fair)
www.artcanton.com
Art Expo Malaysia www.artexpomalaysia.com
Affordable Art Fair (Singapore) www.affordableartfair.sg

MAY 2011 / 69
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MAY 2011 / 71
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