ISSUE 20 | JUNE 2011

JUNE 2011 / 1
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JUNE 2011 / 3
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 CONTENTS

11 38

20

11 42

17 32 50

11 ART WIRE Andy Warhol: Coloured

Age of Uncertainty 11
Nitish Bhattacharjee 11
campbell’s soup cans 17
42 ART LANDS
The Emperor and the CEO
Henry Butcher Auction of
Malaysian Art 18

Art from the Heart 12 Tranquil: 2nd Solo Exhibition by

Johan Marjonid18
50 Market Voices
Through Indigenous Eyes — to The Cross-Cultural Revolution
Highlight Southeast Asia’s and
Melanesia’s ‘Tribal’ Art 12 Utterly ‘Hungry for More’ Art! 52
20 IN THE FRAME
Bird Island - A solo exhibition
by Guan Wei 13 Ren Zhe - Spirit of the Ages
54 PERSPECTIVES
Liu Xuanqi – The Language of
Abstract Art 13
30 FEATURE Entering the Singapore Space

Sebastiao Salgado 14 Infinite Ink – Chong Siew Ying

Annysa Ng —’Eyes Closed’ 14 64 DIRECTORY &

The Man Who Paints 15
32 STORY Listings
Christine Cathie — Evolve 15 The Storyteller’s Dream Singapore Art Guide
Tourist Spots
Friedrich Kunath: The Most Malaysia Art Guide
Beautiful World in the World 16 Hong Kong Art Guide
Julian Opie Editions 38 GLIMPSE London Art Guide
Europe Art Guide
Retrospective 16 The Keramikos World of
United States Art Guide
Madvhi Subraman
Nelleke Beltjens: They Don’t
Know Either 17

JUNE 2011 / 5
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Issue #20 | June 2011
ISSN 2010-4375 / MICA (P) 252/09/2010
www.thepocketartsguide.com

On the Cover
Ren Zhe: Black Tortoise, Bronze 200 x 140 x 100cm

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

Art Director
Amalina MN / ama@thepocketartsguide.com

Contributors
Gladys Teo, Bharti Lalwani, Jason Toh, Clare Eltringham

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JUNE 2011 / 7
Editor’s letter
Dear Readers,

With June already here, we can look back at an eventful few

months, and with the expectation of interesting times to come. It
has been tumultuous as well as awe-inspiring. But the immensity
of the art events of 2011, which includes gargantuan art fairs in
Asia, has made it a significant time.

The June 2011 issue of The Pocket Arts Guide (TPAG) continues to
have its finger on the pulse. TPAG appears to be growing issue by
issue in an art world that has a lot more to offer than it did a few
years back. This issue is full of artists and gallery owners with a
verve for the dynamic and the different.

This issue, In the Frame features Chinese artist Ren Zhe who sculpts
profiles of the spirit that cross aeons. We also have an interview
with Singaporean gallery owners Utterly Art who reflect on ten
successful years and look forward to more. The ‘Story’ in this issue
is about the visual language of the spirit understood by Australia’s
Indigenous people.

Art needs to be loved, but more importantly it needs to be understood.

Understanding it can almost always help you appreciate it enough
to keep it alive. As it becomes a global phenomenon, seen with
the turnout of this year’s Art HK 11, it is becoming better understood
by more and more people. We wish you an inspiring read that
enhances your understanding of some fascinating art.

Remo Notarianni
Editor-in-Chief

8 / TPAG
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 ART WIRE

‘Age of Uncertainty’ explores how five young Singaporean

artists observe not only society’s response to the constant
evolution of the environment around them, but also offers an
insight into the artists’ personal actions and reactions when
faced with uncertainty.

‘Age of Uncertainty’ invites the viewer to embark on a dis-

course with the artists in which issues such as the influence
of childhood on the artists’ practices, current East-West cul-
tural exchanges, and the finality of death are encountered.
Age of Uncertainty The exhibition provides a critical look at the uncertainty of life
through, amongst others, apocalyptical comic book covers,
16.05.11- 03.06.11 3D vignettes and sculptures of mutant childhood heroes.
Chan Hampe Galleries
www.chanhampegalleries.com ‘Age of Uncertainty’ will include new works by participating
Singapore artists Sarah Choo, K.C Gan, Chester Huang, Jonathan Le-
ong (ZXEROKOOL) and Daniel Yu.

In his first solo exhibition in Singapore “Back Channel”, Ni-

tish Bhattacharjee explores the activity of conveying and
exchanging information. He is in particular interested in the
covert methods of exchanging sensitive information in politics
that circumvents standard procedures.

Nitish Bhattacharjee’s canvases are filled with bursts of

colour that are delivered in bold,uninhibited brush strokes.
These brush strokes are visually balanced by flattened, angu-
lar patches of colour panels, which are infused in his creations
in a rhythmic manner.
Nitish Bhattacharjee
Each area of colour is painted with such richness that a
09.06.11 - 30.06.11
wealth of textures is produced on the surface of his canvas.
Indigo Blue Art
The visual richness is imbued with a colourful spirit that, in its
www.indigoblueart.com
Singapore own way, demonstrates how information is alive, albeit some-
times covertly oppressed.

JUNE 2011 / 11
ART WIRE
Art from the heart
11.06.11-15.06.11
Ayer Rajah Centre
Dynasties Antique & Art Gallery
www.9911art.com
Singapore
Through Indigenous
Eyes — to Highlight
Southeast Asia’s and
Melanesia’s ‘Tribal’ Art
25.05.11-21.06.11
SOCIETE GENERALE,
Private Banking Gallery
www.alliancefrancaise.org.sg
Singapore
12 / TPAG
St. Luke’s Elder Care Ltd (SLEC) was established in August
1999 to provide a range of day care services for the elderly.
The upcoming Charity Art Fundraiser organised by Dynasties
Antique & Art Gallery in aid of SLEC – which will be held from
11 to 15 June 2011 at Tradehub 21, 18 Boon Lay Way, #01-
136.
The net proceeds from the sale of art pieces will be donated
to SLEC – Ayer Rajah Centre. In order for SLEC – Ayer Rajah
to operate smoothly, it requires at least $469,000 to fund its
operation for the first three years.
Up to date a number of artists have responded to this event.
These are Choo Keng Kwang, Lim Tze Peng, Liu Kang,
Leong Chun Hong Chen Jian Wei, Zhang Da Lun, Huang
Xiong Wen, Chen Lianjun, Zhu Fa and Li Zhong.
The indigenous cultures of Southeast Asia have been a
source of artistic inspiration for Europe’s museums and elite
collectors since the 18th century. Artists such as Picasso and
Matisse were especially inspired by the hallucinatory styles
and sophisticated abstractions that characterise Southeast
Asian art from Borneo and New Guinea.
The exhibition ‘Through Indigenous Eyes’ departs from the
usual anthropological perspective. Opening on May 24 at Al-
liance Française de Singapour, it entices Singapore art lovers
with the singular beauty of Southeast Asia’s very own indig-
enous art forms.
The more than 30 visually inspiring works in the show were
carefully selected from the Mark Gordon collection of South-
east Asian indigenous art. Mr Gordon, a naturalised Singapor-
ean, painstakingly assembled his collection over a period of
almost three decades.

Bird Island - A solo
exhibition by Guan Wei
6.06.11 – 6.08.11
Chan Hampe Galleries @ Raffles Hotel
www.chanhampegalleries.com
Singapore
Liu Xuanqi – The Language
of Abstract Art
01.04.11 - 26.02.12
The Volvo Art Loft
249 Alexandra Road, 2nd floor
Singapore
ART WIRE
Award-winning Chinese artist Guan Wei will exhibit some of
his newest paintings in this breathtaking solo exhibition of
works exuding his distinctive style.
Guan Wei spent 20 years in Australia after the political unrest
in mainland China in the late 1980s. He recently returned to
Beijing to set up a studio and reconnect with his homeland’s
artistic community. He took part in the Shanghai Biennale last
year and is currently showing at the OCT Contemporary Art
Terminal in Shenzhen.
Wei continues to make his mark on the 21st century art world
with artwork that is at once imaginary and impressionistic. His
paintings contrast vivid colours with interesting shapes that
are descriptive and sublime. His unique world view enhances
our understanding of the world around us.
Liu Xuanqi draws inspiration for his abstract oil paintings from
oriental philosophy but expresses it using western methods.
His artwork presents the East being polite and reserved and
the West as being bold and ‘Wild’. The two seemingly oppos-
ing cultures are combined to promote an “East as substance,
West as the form” philosophy.
All of his works come across as natural and full of vibrant
creativity, boldly using “free and modern” colours to represent
China’s traditional philosophies. The contemporary works ex-
ude passion and allude to relationships between different phi-
losophies through the seemingly complicated dots and lines.
It is with this abstract signature that Liu depicts a modern glo-
balised world. As East and West interweave, his images have
a significance that is increasingly relevant in the 21st century.
JUNE 2011 / 13
ART WIRE

Sebastião Salgado, one of the world’s most respected pho-

tographers, is to have his first solo exhibition in Hong Kong.
Salgado has made it his life’s work to document the impact
of globalisation on humankind. His hauntingly beautiful black-
and-white prints lay bare some of the bleakest moments of
modern history.

Salgado’s images tell the story of Vietnamese boat people,

Rwandan refugees, Indian coffee growers, and countless
other impoverished individuals. This unprecedented exhibition
unveils new work from his ‘Genesis’ series, featuring images
Sebastiao Salgado of majestic landscapes and ancient civilisations. A selection
07.05.11 – 17.05.11
of iconic works from earlier on in his career will also be on
Sundaram Tagore display.
www.sundaramtagore.com
Hong Kong Salgado speaks with a visual language that addresses the
idiosyncrasies of a world trying to interweave and interrelate.
The clash of civilisations is spoken of throughout. It is evi-
denced by the consumer products enjoyed by the few every
day as much as it is shown by media imagery.

Blindspot Gallery is proud to present ‘Eyes Closed’ exhibiting

pen and ink paintings by Hong Kong-born, New York‐based
artist Annysa Ng. Selected by The Sunday Times in 2008 as
one of the top ten contemporary artists to watch, Ng is excit-
edto exhibit her painting works for the first time in Hong Kong.

“Eyes Closed may imply sleeping, dreaming,the state of un-

consciousness. It may also be a passive state, a refusal to
showemotions,” Ng says. In her works, Ng explores topics
of identity and reality as perceived through various states of
Annysa Ng —’Eyes Closed’ consciousness.

27.05.11- 04.06.11 Ng’s artworks always contain strong references to the identity
Blindspot Gallery and lack of identity of Hong Kong as a former British Colony.
www.blindspotgallery.com Her works also address issues of femininity and female sup-
Hong Kong pression.

14 / TPAG
 ART WIRE

“We see a man paint with violent colors. He’s kneeling down
on one knee as he paints. The air surrounding him is filled
with so much tension that it looks as if he’s ready to jump into
an emotional sprint.” This is how Korean artist Suh Yong Sun
describes himself as an artist.

Sun is often considered a historical artist. He has been work-

ing on the stories of Danjong for 20 years. But critic Chung
Young Mok said, “he talks about the humanities not with the
language but with visual images”.
The man who paints
DanJong is one of the Kings from ChoSun Dynasty of Korea
05.24.11-21.06.11 who lived in the 15th century. He lived a tragic life, as his
Shin Hwa Gallery power and people were taken by his ambitious uncle, SeJo.
www.shinhwagallery.com
Hong Kong

Koru Contemporary Art is delighted to announce the return of

renowned New Zealand glass artist Christine Cathie. Inspired
by the natural forms around her, whilst also drawing upon
her architectural background with strong lines and structured
forms, Cathie continues to balance contradictions.

The folds and twists within the pieces and the gravity-defying
positions, generate an illusion of weightlessness, contrasting
with the qualities of the glass and substantial weight of the
sculptures. Cathie’s composition of forms also creates an ar-
Christine Cathie — Evolve ray of tones and depth of colour.

17.06.11- 25.08.11 Being a selected finalist for the Ranamok Art Prize in 2002,
Koru Contemporary 2003, 2004 and 2006, and with work in the collections of
www.koru-hk.com New Zealand’s Ministry of Foreign Affairs, the Glasmuseet-
Hong Kong Denmark and Sir Elton John, this is a rare and exciting op-
portunity for collectors and enthusiasts alike.

JUNE 2011 / 15
ART WIRE

White Cube Hoxton Square presents the first UK solo exhibi-

tion by Friedrich Kunath. Encompassing painting, sculpture,
drawing, video and photography, Kunath’s work focuses on
universal themes of the human condition: love, loss, loneli-
ness, optimism and dejection, all imparted with a tragicomic
pathos.

Kunath’s work draws inspiration from sources such as song

titles, lyrics and books, along with art historical influences,
including Conceptual art, German Romanticism and Symbol-
ism. His paintings freely bestride the idioms of abstraction and
Friedrich Kunath: The representation.
Most Beautiful World
in the World
In another painting, the hunched figure of the artist trudges
15.04.11—04.06.11 into a psychedelic, waterlogged landscape. The lone protag-
White Cube onist makes regular appearances in Kunath’s work, the mel-
www.whitecube.com ancholic ‘everyman’, full of longing for home. With a series of
London sculptures that serve as proxy for the artist, the environment
attempts to create an improbably utopian world according to
Kunath.

The Alan Cristea Gallery will stage a major retrospective of Ju-

lian Opie’s editions from 9 June to 9 July to coincide with the
publication of an edition Catalogue Raisonné. Julian Opie’s
highly distinctive depictions of the modern world are created
in a variety of media.

This exhibition will present the most innovative and exciting

editions that Opie has produced. It will chart the develop-
ment of his work from the early very reductive landscapes
and portraits, to silhouettes, animations, lenticulars and LED
Julian Opie Editions animations.
Retrospective
Opie has always strived to break down what he believes to
9.06.11-09.07.11 be the illogical barriers set up between painting and design,
The Alan Cristea Gallery and sculpture and objects – his printmaking and production
www.alancristea.com
of editions play a central role in this philosophy with a wide
London
range of influences.

16 / TPAG
 ART WIRE

With “They don’t know either”, Christian Lethert Gallery is

presenting Nelleke Beltjens’ second solo exhibition. Since
her first show “Fragments of the Parts” (2009), the artist has
been consistently developing her unusual and idiosyncratic
approach to drawing.

Added to the abundance of drawing information in the new

works of the “CLUSTER (colour)” series is a highly compli-
cated system of cuts in the paper, perceptible only from up
close. They stem from the artist’s cutting out individual seg-
NELLEKE BELTJENS: THEY ments from the drawing paper.
DON’T KNOW EITHER
Another feature of the latest drawings by Nelleke Beltjens is
04.06. – 30.07.2011 the use of ink pens in assorted colours. Whereas the earlier
Galerie Christian Lethert drawings were mostly rendered in a single colour in black,
www.christianlethert.com blue, or green, lately the artist has been using combinations
Germany of six and more.

L&M Arts (New York) is proud to exhibit 12 paintings from

American artist Andy Warhol’s series of Colored Campbellʼs
Soup Cans. In 1965, Warhol executed the iconic ‘Tomato
Soup’ can in 20 unique colour combinations, such as orange,
purple, and kelly green as well as tan, blue, and red.

In doing so he gave each of these large-format, silkscreened

paintings its own aesthetic and quintessentially Warholian ‘va-
riety’. Since their creation, this series of paintings has never
been the exclusive subject of an exhibition.
ANDY WARHOL: COLORED
CAMPBELL’S SOUP CANS This long overdue project would not be possible without
the enthusiasm and support of the private and institutional
21.04.11- 11.06.11 lenders. L&M Arts has published a fully illustrated catalogue
L&M Arts (New York) featuring all 20 paintings in the series as well essays by re-
www.lmgallery.com nowned Warhol scholars.
New York

JUNE 2011 / 17
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.
Henry Butcher Auction
of Malaysian Art The Auction will be held at White Box, MAP @ Publika, Kuala
Lumpur 19 June. The full viewing of 105 artworks will be held
28.05.11 — 19.06.11 at White Box, MAP @ Publika, Kuala Lumpur from 28 May -
White Box, MAP@Publika in Solaris 18 June.
Dutamas
www.hbart.com.my
Kuala Lumpur

Renowned forest landscape artist Johan Marjonid has suc-

cessfully interpreted the world of nature through paintings.
Johan uses monochromatic green to capture space, and
form that capture the ambience and feeling of nature. His fas-
cination with nature continues with his very last work, ‘Cool-
ness and Tranquillity III’.

Johan resembles English romantic landscape painter Jo-

seph Mallord William Turner in his interpretation of nature. His
hometown in Johor is surrounded by green and panoramic
Tranquil: 2nd Solo hillsides.
Exhibition by Johan
Marjonid In this solo exhibition, Johan focuses on his experiences at
Tasik Banding, from the Perak River right to the Forest of
18.06.11-19.07.11 Royal Belum. The interesting journey in ‘The Tranquil Morning
PINKGUY Gallery at Royal Belum 1’, portrays little islands in this very huge lake,
www.pinkguy.com.my and very interesting decaying woods stand firm in the lake.
Kuala Lumpur

18 / TPAG
JUNE 2011 / 19
IN THE FRAME

20 / TPAG
 REN ZHE

Ren Zhe
Spirit of the ages

Text: Remo Notarianni

T he figures of Chinese artist Ren Zhe could

be sculpted by the hands of time. Warriors
wrought from bronze and steel pose like histori-
cal landmarks. But the fine details give them a
contemporary look that makes them cross time
itself. Ren Zhe’s hybrids of the classical and the
modern have a unique realism.

Olympic Warrior, Bronze 132 x 109 x 88cm

JUNE 2011 / 21
IN THE FRAME
“My artwork has been influenced by
Western classicism,” revealed the Beijing-
born Ren Zhe. “Through incorporating mod-
ern techniques, the form takes on a contem-
porary feel. I hope to use modern materials to
portray traditional ideas. Because I feel that
tradition and modernity are contradictory, but
what does not change is the indefatigable
nature of the spirit. This has been what I want
to express all along – the goodness of spirit
and admirable qualities.”
The energy and dynamism in the figures
express this extraordinary strength. The war-
riors appear classically Chinese but could be
on any battlefield. This versatility, one that
characterises Ren Zhe’s creations, might de-
scribe a China that still reveres its past in a
modern global economy. His personal jour-
ney also spans the classical and the modern.
“I started to write calligraphy from a
young age and I have continued until now,
making it a habit,” said Ren Zhe. “I reckon it
must be my early exposure to calligraphy and
the beauty in it that has been a source of in-
spiration, including my subsequent creations.
I started to learn drawing and art from high
school. I began to receive a formal educa-
tion in art and was admitted into Tsinghua Art
Academy. I have been continuously learning
about art and sculpting, and my family has
always been supportive, deeply influencing
me on ideas about culture as well.”
Sculptures such as the stainless steel
Infinite Spirit of Allegiance, recall figures from
martial arts as well as military history, Japa-
nese Manga, and Marvel comics. The bronze
Gentle Warrior has an essentially spiritual
quality that could depict an enlightened fig-
ure reflecting across time. The historical blue-
print of Ren Zhe’s subjects has the feel of an
everyman on a spiritual search. It could be
a battle for the truth that has continued for
aeons. The artist leaves us to fill the gaps but
22 / TPAG
there is something inspiring about the inter-
action.
“I admire the indomitable spirit of the
warriors,” said Ren Zhe. “And the warriors
that I create are neither about invading nor
fighting. They are more about being strong
in their attitude. I hope their spirit inspires all
who have suffered setbacks or experienced
difficulties to stand up for themselves. I want
to constantly go all out, broaden my horizons
and surpass my own standards. This is why I
am creating these warriors; I wish to convey
this awesome spirit to people.”
Ren Zhe uses a complex process to pro-
duce the sculptures and he likens it to con-
structing a building. He starts with drawing a
sketch of the design. This is followed by cre-
ating the sculpture’s framework and it uses
both iron and wood to support a sculpture
mould made of clay. The very process is a
traditional one that Ren Zhe is keeping alive
in the 21st century.
The wax sculpture is coated by heat-
proof sand and put inside a kiln to melt away
the wax inside and the hardened ceramic.
This is actually an ancient technique called
the ‘lost wax’ method. Pre-prepared molten
bronze (heated to extremely high tempera-
tures) is poured slowly into a ceramic shell.
After the shell is broken and the sculpture
emerges, Ren Zhe adds chemicals to make
colours on the surface.
“The medium is an important component
in sculpture and an important consideration
of the artist,” said Ren Zhe. “I have always
been more inclined towards using metal as a
material, by melting it to a liquid and using it
in the casting process. I feel that this material
allows me to express my feelings about clay
sculptures and it also solidifies the artwork.
Considering too many materials may restrain
me from what I want to express, I embrace
freedom and emotion and feel that these
 REN ZHE

Territory Expansion Bronze,123 x 95 x 72cm

JUNE 2011 / 23
IN THE FRAME

Tremendous Vigour Bronze 143 x 133 x 80cm

24 / TPAG
 REN ZHE

Ostentatious Blade Bronze,100 x 80 x 76cm

JUNE 2011 / 25
IN THE FRAME

26 / TPAG
 REN ZHE

1. Indefectible Spirit
Stainless Steel, 85 x 73 x 30cm
2. Courageous Appearance
Stainless Steel, 85 x 65 x 55cm
3. Yuchi Jingde
Stainless Steel, 117 x 66 x 50cm

JUNE 2011 / 27
IN THE FRAME

A Sincere Heart Stainless Steel 190 x 125 x 95cm

28 / TPAG
 REN ZHE

materials suit my creative attitude. There is

an eternal quality in metal, suitable to the es-
sence I want to portray.”
Ren Zhe states that he re-examines the
world with a traditional eye uniquely reinvigo-
rating modernity instead of the other way
round. His work has found recognition from
financiers, entrepreneurs and politicians,
as well as people in the literary and artistic
world. Its spirit perhaps lies in all of us.
“I feel that in terms of the human spirit,
my works should emerge as universal,” said
Ren Zhe. “For example we all pursue good-
ness, peace and love. These attributes exist
in everything. By combining western cultural
ideas with Asian techniques, my work can be
understood by different parts of the modern
world. In spirit, it is universal. However it is
more individually characterised in its formal
nature. I feel that be it Asian or Western art-
ists, everyone is equal, and there are no re-
gional demarcation lines. With the challenges
that artists face, they are attaining truthful-
ness and grasping techniques. Sincerity
takes a front seat. Instead of being shaken by
the world or pandering to trends, we should
be true to ourselves. It is in such turmoil that
one should persist through what one experi-
ences and express it.”

Ren Zhe was born in 1983 in Beijing, China. He

has won numerous awards including a gold medal
at the 1st Zhengzhou International Sculpture
Exhibition Group exhibition in Beijing.

JUNE 2011 / 29
FEATURE

Infinite ink
CHONG SIEW YING

Text: Bharti Lalwani

Singapore’s Valentine Willie Fine Art (VWFA)
presents ‘Infinity’, an exhibition by Malaysian art-
ist Chong Siew Ying who is known for her sensual
paintings and elegant figurations. Her latest body
of work focuses on melancholy landscapes drawn
out in bold charcoal strokes on a paper-mounted
canvas— a new material manufactured in France.
The 10 monochrome canvases offer a reflec-
tion of traditional Chinese ink and wash paintings
and their oft-chosen subject is ‘the landscape’, ex-
cept that these are landscapes from Chong’s heart
and mind. Without any use of colour, the works of
art convey the fluidity of brushwork in expressions
of the earth, sky, water and everything reflected
within. As a Chinese-Malaysian, the artist has been
influenced by ancient Chinese ink paintings, phi-
losophy and even poetry. However she has also
been influenced by a ‘western’ sense of composi-
tion and technique. Her works are prepared in two
stages – she traces out the details of clouds, trees,
and perhaps a lonely moon, with charcoal over the
paper-mounted canvas. Once the characteristic
grainy textures have been achieved, Chong then
brushes over the image with a transparent acrylic
emulsion which smudges and blurs the contours
to soften sharp edges lending depth and an overall
sense of life and reverberation- the final effect emu-
lates the aesthetics of Chinese ink.
Based between her Paris and Kuala Lumpur
studios, these labour intensive works were devel-
oped through Chong’s understanding of space
and landscape which may bear associations to
perhaps her homeland. Wide open spaces are
depicted with pathways mysteriously disappear-
ing over the horizon while flanked by lush trees
on either side. ‘Faith’ illustrates, on a large-scale
panel, the artist’s profound mindscape where open
skies, tall trees and a narrow path nudge the viewer
into commencing on a philosophical journey which
could be infinite.
Chong expresses visual poetry through lay-
ered textures, greyscale hues and multiple conno-
tations. In contrast, these are depictions of a co-
lourless world; breathtaking and romantic at first,
the ideal notion of the lush but empty landscape
fades quickly on closer inspection as one realises
a sense of sadness within beauty while tension
builds in the thick, heavy clouds gathering in the
skies above, hinting at the notion of a ‘calm before
the storm’. Whether that is in fact the artist’s inten-
tion is uncertain.
These emotional ‘mindscapes’ were devel-
oped over two years and demonstrate the power
of art to capture the intangible qualities of nature —
transcending the real to the imagined.
‘Infinity’, an exhibition of Chong Siew Ying’s work,
was exhibited at Singapore’s Valentine Willie Fine
Art (VWFA) 6-29 May, 2011

30 / TPAG
CHONG SIEW YING

JUNE 2011 / 31
STORY

The
storyteller’s
dream
Text: Clare Eltringham | Images: Ninuku arts

Claire Eltringham, the Manager of

Australia’s Ninuku Arts, reveals
the magic of ‘storytelling ’ in the
nation ’s Indigenous art through
the work of Harry Tjutjuna.

32 / TPAG
 HARRY Tjutjuna

Harry Tjutjuna

JUNE 2011 / 33
STORY

34 / TPAG

Harry Tjutjuna is a senior Indigenous
man from a remote, desert community
in South Australia called Pipalyatjara. He
paints at an art centre – Ninuku Arts - in a
neighbouring community known as Kalka.
While art enthusiasts have spent years ad-
miring his work for its quirky imagery and
fluid, painterly application, it could be said
that the most fascinating aspect of his paint-
ings is the story they tell.
For Indigenous artists, particularly se-
nior men and women from the desert in
Australia, the connection to place and story
is directly linked to their art. They belong to
their places of birth the way that a child be-
longs to its parents and they carry the sto-
ries of their land in their hearts.
That said, there is no denying that a
sense of belonging is one of the most impor-
tant things for Indigenous people – they are
of their country and their sense of ownership
goes far beyond patriotism. One of the few
ways of gaining insight into Indigenous cul-
ture is through conversation (although often
a language barrier exists) or through observ-
ing ritual, language, inma (ceremony) and, of
course, through art. Many years ago I read a
quote by an Indigenous artist from the west-
ern desert, Michael Nelson Tjakamarra. It
was simple but incredibly poignant and has
stayed with me ever since. It said “Without
this, they wouldn’t know us.” Art has be-
come their visual language, one of the few
ways for Indigenous people to communicate
and share their stories with ‘white fellas’.
Harry Tjutjuna’s begins each working
day, waiting patiently for the art centre troop
carrier to pick him up. When we arrive, he is
sitting cross-legged on the front verandah of
his house, his gaggle of dogs surrounding
him like a nest of hungry, squawking birds
begging for him to flick some of his damper
or ‘Weat-bix’ aside. The sun is just begin-
ning to reach him under the shade of his ve-
HARRY Tjutjuna
randah and a tin cup of hot tea sits in front
of him.
On a good day, Harry is able to stand
on his own accord balancing precariously
on his punu (walking stick). Other times his
extensive group of granddaughters (who act
as primary carers for Harry) will help him to
his feet and towards the art centre vehicle.
Having been “born in the bush” there is no
official record of his birth but he is said to be
around eighty years of age. Although fragile
physically, Harry’s spirit is as strong as an ox
and his conviction to paint infallible.
To Harry, painting is as a voice is to
a singer – an essential part of his life and
expression. When he arrives at the art cen-
tre, he sits outside (by far his preferred en-
vironment come either winter or summer)
and goes about his work. To watch Harry
Tjutjuna paint is from a position of treasured
privilege. With a conductor’s precision, he
whimsically and gently lets the drippy paint
flow from his brush. Eventually, due to the
nature of how he sometimes uses the same
brush in the different paint pots, his colours
blend into each other the way the clouds
melt at sunset.
The five main stories Harry Tjutjuna
paints include Wati Nyiru, Mutata, Wati Ngin-
taka, Kungka Tjuta and Wati Wanka. These
stories, along with most that Indigenous art-
ists paint, are commonly known as Tjukurpa
or Dreaming. But Harry’s cheeky personality
also shines through in his work – his Kungka
Tjuta (lots of women) for example is a depic-
tion of women’s bottoms sitting in the sand.
Anangu (the term for people in the local lan-
guage of Pitjantjatjara) have a tradition of
sitting on the ground in a circle and sharing
stories. Often they will hold a piece of wire
or a stick and they will trace designs in the
earth as they share these stories. In many
ways, Harry puts down the painful way that
some Anangu draw in the red earth at story
JUNE 2011 / 35
STORY

36 / TPAG
 HARRY Tjutjuna

time. He will work over thick marks in layers der has cast; the blocks of flat colour may
of varying colours and designs until the can- represent the cave where the spider hides;
vas reaches a place of compositional and and the repetitions of dots may represent a
aesthetic brilliance. cluster of black rocks found on the side of
Arguably the most common story he a mountain.
paints is Wati Wanka (Spider Man). It is not
surprising that he sometimes jovially intro- This May-June, ReDot Fine Art Gallery ex-
duces himself as the ‘Spider Man’. As he hibits a group of Indigenous paintings which
explains: “This is a big spider man. Wati come straight from the source – the Anangu
paluru Ngankari (A male healer, traditional Pitjantjatjara Yankunytjatjara Lands in the
doctor). He is a powerful man. When rain northwestern corner of South Australia. In-
comes he hides in his nest. He is a clever digenous-owned and community-based art
man. At night, he changes colour. His name centres - Tjungu Palya and Ninuku Arts – are
is Wanka (Spider). That’s the story. Minyma sharing this opportunity to show the audi-
wanka tjuta, these are all the women and ence the brilliance and significance of works
children for this man (around him).” painted ‘on country’.
He goes on to implicate himself in
the story: “I am the spider man, Ngankari
(healer, traditional doctor).” In the painting, Story is a column that looks at the connection
between visual art and narrative.
Harry’s ‘Kungka Tjuta’ (lots of women) sur-
round the spider and this goes on to be a
repetitive theme in all of his paintings. The Image credits:
spiders themselves are of varying detail and 1. Title of artwork year medium size
colours. Often they contain designs painted 2. Title of artwork year medium size
3. Title of artwork year medium size
on the spider’s stomach - at times, Harry
has referred to these as being representa-
tive of the sexuality of the spider (male or
female) or as designs representative of body
painting for traditional ceremony.
Trying to make a distinction between
narrative and imagery for someone like
Harry Tjutjana is nearly impossible. Essen-
tially they are the same thing – the Tjukurpa
(Story) is the painting and the painting is the
Tjukurpa. Sometimes the translation is literal
i.e. his spider man does look like a sinister
spider with long, spindly legs and beady
eyes. At other times, his paintings transcend
our literal understanding of his imagery and
the result is seemingly abstract. The reality
is that they probably only appear this way
– the abstract forms have meaning as does
every mark made. The web-like forms in his
work may represent the web that the spi-

JUNE 2011 / 37
GLIMPSE

The Keramikos
World of Madhvi
Subrahmanian
Text: Jason Toh

38 / TPAG
Madhvi Subramanian

JUNE 2011 / 39
GLIMPSE
For the past decade, contemporary art in
Singapore has been dominated by photography,
video, performance, and installation art. Traditional
media such as painting, printmaking and sculpture
have rarely been part of the oeuvre even though
the majority of artists are formally trained in these.
So, it is refreshing for me as a contemporary art
curator to see an artist like Madhvi Subrahmanian,
who has resolutely resisted the ‘new’ while being
refreshing in her work. She has continually worked
with ceramics for the past 25 years.
Originally from Mumbai, India, Madhvi took
off from the hustle and bustle of the urban Indian
metropolis in the mid 1980’s and planted herself in
Pondicherry, the ‘French Riviera of the East’ to im-
merse herself in art. She enrolled in a ceramics work-
shop set-up by Americans Ray Meeker and Deborah
Smith in 1971 named Golden Bridge Pottery.
The couple’s interest in eastern philosophy,
Japanese stoneware and sustainable architec-
ture influenced students like Madhvi whose cur-
rent art-making practice fuses the ancient with the
contemporary, the spiritual with the mundane and
the everlasting with the ephemeral as it continues
40 / TPAG
to be mediated and influenced by materials found
in nature. In America, Madhvi’s formal ceramics
education was further reinforced with a Masters in
Fine Arts from the Meadows School of Art in Dal-
las, Texas. Her life has been one of constant move-
ment and migration and this is a major theme in her
art creation. Singapore has been home to the artist
for the last three years and in this solo exhibition,
she showcases her wall-mounted and freestand-
ing installations.
Clay, an organic material that is found abun-
dantly on our planet is transformed into ceramic-
an inorganic, non-metallic solid - by the action of
heating and subsequent cooling. Through the ages
in both East and West, clay has been used to pro-
duce utilitarian products for everyday use. As an
art object, ceramics is generally linked to the deco-
rative arts or archaeology. How then do Madhvi’s
sculptural forms fit into the current contemporary
art context?
In her first solo show in Singapore entitled
‘Connections’, Madhvi uses her material in an un-
orthodox manner, moving away from preconceived
notions of ceramics to site-specific installations.
 Madhvi Subramanian

Installation art serves to transform a viewer’s ex-

Jason Toh is currently a curator at the Singapore Art
perience of a gallery space using materials with a
Museum. A liberal arts graduate from Middlebury
specific sensorial quality. Traditional sculpture in (USA), he was the Curator of Photography and
the round is viewed from the outside with a definite Singapore History at the National Museum of
self-contained form, whereas an installation envel- Singapore.
ops the viewer in the space containing the work,
allowing for a more immersive experience. This
Image credits:
marrying of taditional sculpture with a contempo- 1. Social Network -
rary mode of art placement resonates with me as Earthenware, terrasigillata, smokefired and sacred
a curator who is interested in finding connections thread. Size 24” H X 72” W X 2.5”D
between history and contemporary art. This ‘inter-
media’ way of art-making is taken to another level 2. Decisions -
as the artist adds a further layer of expression in Earthenware, terrasigillata, smokefired and gold.
her ceramic works that look deceptively like the Size 32”H X 30”W X 2.5”D
ancient wooden sculptures of a vanished civilisa-
3. Heiroglphics -
tion and that is a result of her longstanding experi-
Earthenware, terrasigillata and graphite.
mentations with the smoke-fired technique. One Size 48”H X 36”W X 2”D
only realises the contemporaneous nature of her
works by closely looking at the symbols embed-
ded therein.
Madhvi’s forms and installations are inspired
by both urban (road signage) and natural (seed-
pods) forms. What intrigues me most is the pro-
cess of her practice and how she plans to execute
the final installation in the gallery space as she is
working furiously yet methodically. The ideas for
her solo exhibition are undoubtedly personal but
also relate as I see them, largely to a Singapore
society that is evolving to adapt itself and its people
into a world economy reliant on cordial relations
and soft power.
Looking at the artwork, I see a karamikos
(Greek for ‘pottery’) world in microcosm under
construction by the artist where urban-city people
(represented by the work entitled Couple) who
have to constantly deal with climbing the ladder of
progress with multiple options, (represented by the
recurring motif of the road signs in the work Lad-
der) are available to the socially mobile.
In our urbanised culture where the self is
placed before society, one of Madhvi’s works, in
the exhibition Social Network offers a different take.
The self is important but the connections between
people and the personal relationships built will help
support one through a long and arduous journey
that ends only when one returns to the Earth to
become one with ‘nature’ again.

JUNE 2011 / 41
ART LANDS

The Emperor
and the CEO
Text: Remo Notarianni

42 / TPAG
HONG KONG

JUNE 2011 / 43
ART LANDS

44 / TPAG

Hong Kong’s vertical skyline is a symbol of its
financial success. But for many, there is a notice-
able gap between its soaring skyscrapers and the
heritage of it streets and monuments that spoils
the view.
In recent years, a new buildings have ap-
peared on architects’ models that have intensified
the debate. The designated area, in West Kow-
loon’s Yau Tsim Mong area, is part of an attempt by
the Hong Kong SAR government to nurture art and
culture in the territory. The district, which is part of
a project that costs HK$ 21.6 billion for construc-
tion, is set to house a National Museum, countless
theatres, and cultural projects in 40 hectares.
Stalled by setbacks since 1999, the distinctive
curves of the structure could easily form a question
mark. Following countless public consultations, the
area is scheduled to open in 2015 as an arts hub
managed by the West Kowloon Cultural District
Authority. But news-making disappointments such
as the resignation of Graham Sheffield as the CEO
of the authority and the ensuing mystery surround-
ing this, has made the project seem doom-laden.
If the proposed wedge-shaped building does
speak to the city, it will most likely claim that Hong
Kong is no longer the ‘cultural desert’ it was once
accused of being. Perhaps the government is hop-
ing that this will strike a chord with the bohemian
voices of its ‘pop-up’ galleries and Hollywood
Road art dealers.
A recent exhibition at ArtisTree, a venue fund-
ed by property developer Swire, acknowledged at
least that the messages outside these well-estab-
lished art spaces are worth listening to. The ex-
hibition, entitled ‘The Kowloon King’, showcased
the work of Tsang Tsou Choi, a calligrapher best
described as a renegade graffiti artist who died in
2006, aged 85.
For the decades that he refined his art, Tsang
clashed with police as he splashed calligraphy on
walls, post boxes and public areas. As he made
Hong Kong into a city-wide studio for his unique
script, which contrasted with both the alphabet of
British colonial road signs and the traditional Chi-
nese of Hong Kong, Tsang visually voiced what
seemed like a political manifesto:
“I am the King of Kowloon,” wrote Tsang. “The
true ruler of the Kowloon peninsula and I lay claim
HONG KONG
to the unique territory of Kowloon.” All the pieces of
writing were variations of this same message. This
perhaps made his resolute claim to the land, which
he linked to his family tree, a pretext for his art.
“He was just focusing on writing to express
himself for his own pleasure, and not considering
anything else,” said Joel Chung, founder of HK Cre-
ates, and a friend of Tsang— who was also known
as the Emperor or King of Kowloon. “For more than
50 years, King Kowloon proclaimed his sovereignty
over the peninsula through his writings in the streets.
Whether you believe in what he said or not, there’s no
doubt he was very serious about it.”
Chung makes an endearing reference to
Tsang’s writings on the wall opposite Hong Kong’s
Botanical Gardens near the former Government
House, which were written on 30 June 1997, one
day before the territory’s return to China, and his
writing on the red British colonial post box in Em-
bankment Road, Mong Kok— an exception be-
cause he usually publicly wrote on grey surfaces
such as cement walls or pillars, electric distribution
boxes, and lamp posts.
Tsang, a toothless refuse collector, also found
notoriety through his clashes with the police. But
in the spirit of artistic provocation, this helped him
make an impression. His work was quickly erased
by the authorities but it became written onto the
minds and hearts of culture vultures. Tsang’s de-
signs have appeared in the work of local fashion
and graphic designers, singers, photographers,
advertisers, TV and filmmakers.
Yet, while the artwork of a self-proclaimed
emperor, who persisted in his claims, becomes an
odd part of Hong Kong’s history, the West Kow-
loon project remains a looming promise by the
government. The exhibition held by Swire Island
East confirms at least that an art world can still ex-
ist without it.
“Although it’s not the first retrospective of King
Kowloon, to date,” said a spokesperson for Swire
Island East. “The ‘Memories of the King Kowloon’
exhibition features the biggest collection, covering
the longest period of Tsang’s creative output (some
500 exhibits in total, including Tsang’s 300 original
works). It’s good to see the private sector support-
ing art in an active way. Swire has been a long-time
patron of the arts since the 1970s and a diversi-
JUNE 2011 / 45
ART LANDS

46 / TPAG
HONG KONG

JUNE 2011 / 47
ART LANDS

48 / TPAG
 HONG KONG

fied range of visual and performing art events have

been held within the company’s portfolio in the
past decade.”
The very recognition of Tsang’s work and
the impact it has made could epitomise the in-
domitable spirit of local artists. Tsang’s passionate
resolution to be ‘emperor’ contrasts with a CEO’s
sudden resignation, but it shows at least that the
city’s artists can be acknowledged by those with
the power to shape the landscape.
“He could be an extreme example of unique
character in the sense that he was doing the same
thing which is writing, day in and day out,” said
Chung, “except eating and sleeping for over 50
years, disregarding all difficulties such as physical
pain, weather conditions, pressure from other peo-
ple and the authorities as well as family alienation.
For many artists, his passion and perseverance are
their inspiration and their aspiration.”

JUNE 2011 / 49
MARKET VOICES
The
cross-
cultural
revolu-
tion
Text: Remo Notarianni | Image: the Art
Movement
Asia’s art scene has exploded amid stellar
economic growth. Hong Kong-based art promot-
er James Churchill is the founder of the Art Move-
ment, an organisation that helps ‘western’ artists
stand out in a predominantly Asian crowd.
“The Art Movement was a concept I came up
with around a year ago,” said Churchill. “Initially I
was disappointed by the Hong Kong art scene in
many ways. I found a limited selection of creative-
works, with a great emphasis on contemporary
Chinese artists, a lot of which I didn’t connect with
or comprehend.”
Originally from the UK, Churchill states that his
goal is to make the work of European and Ameri-
can artists accessible to well-heeled aficionados
with disposable incomes as well as art lovers in
general. The Art Movement evolved as a natural
response to a noticeable market gap, and Churchill
stages targeted events that add an international
flavour to the local industry.
“As I was considering the options I happened
to meet a young Polish architect living locally who
50 / TPAG
had thrown aside his professional career to live as
an artist,” said Churchill. “Impressed with his work
I was amazed he had sold none of it and I realised
that I could help put him in touch with profession-
als with a disposable income. I invited them to
view some of his unsold work and managed to sell
seven of his pieces in a short period of time. From
there the idea warped into The Art Movement.”
Churchill has given the projects an organic
quality, helping audiences focus appreciation by
theatrically linking the art with metaphors. With
Revolution, held on May 18, he showcased the
artwork of seven artists originating from the United
States and Europe in a makeshift circus tent in a
hired space. Held in an upmarket area of Hong
Kong Island, the event attracted a range of profes-
sionals who could experience something beyond
austere gallery exhibitions.
“Our new concept is called RE,” said Churchill,
”and it is defined as reverse motion as it incorpo-
rates a forward sense of renewal; the former refer-
ences our nostalgia for a time when art was for the
enjoyment of all, not a luxury for the few, the latter,
our aim to push contemporary art to a wider expe-
rience embracing all the senses.”
Revolution, included the work of American
artist Vladimir Kush, Polish artist Olgierd Nitka
and Hong Kong’s Pete Ross. Each artist created
his own take on the concept of the circus, which
became a metaphor of art as a vibrant form of en-
tertainment rather than a commodity. According
to Churchill, contemporary art has often divorced
itself from its collector base with ‘the shock of the
new’ and one that comes from its relentless pursuit
of being different. He describes the circus as being
ageless and boundless as it has evolved with the
times to include different areas of society.
For the event, Churchill hired French sound
designer Cedric Maridet.
“The sound and ambience add to the experi-
ence that help the art enthusiasts interact with the
artwork,” said Maridet. ”this makes the event flex-
ible and alive.”
The Art Movement attempts to build art
bridges amid a deluge of Asian art. To Churchill,
this starts with an experience that helps engage-
ment with the artwork. Churchill does however see
obstacles if the movement is to be groundbreaking
enough to shape the art scene.

James Churchill
Olgierd, Dancing Elephants Perform Twin Towers,
Paint on board, each tower 66 x 297 cm
“At the moment it differs greatly,” admits
Churchill. “In many ways I’m not launching RE to
be profit-making in the near-term. The show is of-
fered for free at a significant cost to myself and
more as an ode to the artists as well as a push to
broaden the art scene. While Hong Kong is clearly
in the spotlight ahead of such things as the Hong
Kong International Art Fair 2011, few people can
afford the starting prices of art at such a grandiose
event, and some select contemporary Chinese art
has sky-rocketed to the unfathomable levels.”
Events may seem more cost-effective than
gallery spaces but Churchill concedes that there
is no easy solution if the environment itself does
not have a platform for the wide range of talent on
offer. As Churchill plays circus master to a different
crowd, he may find that there is more than bread
and circuses to Hong Kong’s rapidly growing and
diversifying art scene.
HONG KONG
“Hong Kong is still a relatively young market
in terms of art history, especially in the western art
segment,” said Churchill. “While the media regular-
ly reports on new records at Christies or Sotheby’s
or the jumping from No.9 to No.1 in China’s world’s
largest auction marketplace for fine art, it fails to
show the beat on the street. My opinion talking to
local gallery owners or consultants is one of ‘them
and us’. Whilst the auction duopoly continues to
print a phenomenal amount of business, some gal-
leries are clearly struggling to sell work under high
rents and after the explosion of numbers to over
100 in 2010, a few are already shutting their doors.
RE aims to offer a patchwork of creative art at ac-
cessible levels despite the increasing costs now
being faced in Hong Kong.”
JUNE 2011 / 51
MARKET VOICES

Utterly
TPAG: Firstly congratulations to you and your
Managing Partner Kenneth Tan Kok Meng on
completing 10 years as a gallery! I know you

‘hungry
are a molecular biologist so how did you get
bitten by the art bug?
Yes, in fact while I was studying in England for

for more’
my PhD, I often holidayed around Europe. Galler-
ies were normally on the list of places to see, and
I found that I liked going to them, unlike other
Singaporeans who might make a quick beeline

art!
This month Singaporean gallery Utterly Art
Gallery completes 10 years in the business
and the founders say they are ‘hungry for
more’. TPAG catches up with Gallery Direc-
tor Dr. Pwee Keng Hock to find out more.
towards the nearest shopping malls instead. I
found that I could sustain an interest in art, and
when I returned home and started earning a sal-
ary, I could actually afford to own some art!
TPAG: So what was the first work of art you
bought?
It was a deft watercolour from a show at the
Cambridge Town Hall, bought at the princely (for
a student such as myself) sum of sixty pounds,
about autumn leaves and harvest fruit.

TPAG: Tell us how you came to start the gal-

Text: Bharti Lalwani lery all those years ago when the art scene
was still slowly trudging along to being estab-
lished and recognised?
Well, the art scene wasn’t quite as buzzing then,
Well, the art scene wasn’t quite as buzzing then,
but it existed, and there were several local Sin-
gaporean artists around whom we felt we could
help in terms of providing the space and other
services (design, writing and publicity). It was
easier to get noticed then and we were able to
help several local artists fulfil their dream of hav-
ing a first solo show, and many more after that.

TPAG: Obviously you have seen the various

changes in attitudes towards the arts in Sin-
gapore over the last decade, give us your per-
spective.
What’s been consistent is that I’m constantly
amazed by the capacity of SOME keen Singa-
poreans to appreciate good art. Some steadfast-
ly support local artists, but they also have been
very open at accepting art from other countries,
different forms and media, and works that I
thought only an institution might collect. In short,
we are happy that Singaporeans who are collec-
tors are by and large open to different perspec-

52 / TPAG

tives. The only thing that limits them is cash! I think
when we started, we were already out of the ‘Sin-
gapore as cultural desert’ phase and already on to
the ‘Singapore as Renaissance City’ phase, so as
collectors, we have this openness that makes us
attractive as clients!
But you asked about changes: well when we were
one of the small number of galleries in town, we
had more visits by students and artists then, but
curiously now, we find they don’t do the rounds
so often, nor do they come for their ‘market re-
search’ and this is not just our gallery, most galler-
ies seem to have smaller visitation numbers— this
could be because the audience now has a much
bigger ground to cover... or it could be that stu-
dents have more diverse interests nowadays. Also
good young Singaporean artists seem to be mov-
ing away more from commodifiable art such as
paintings and sculpture, and moving onto making
installations, video, performance which are not as
‘sellable’. Recently collectors seem to have be-
come much more selective too.
TPAG: What have your major challenges been
through the years as a gallery?
Getting clients to buy, getting them to visit, get-
ting them to take notice... the usual! When we first
started, we had to curate good shows by good
artists to get noticed (actually nothing’s changed
there), and now, it is interesting that while there
are yet more collectors around who are starting to
buy art, the scene has expanded such that it has
become quite competitive, with several more gal-
leries in existence. The challenge remains in how to
stay relevant to the changing tastes of collectors,
and also mounting larger events to attract them.
Expanding beyond our Singapore and Philippine
staples, we are introducing Cambodian and Paki-
stani artists for the first time this year.
TPAG: Utterly Art has mostly shown affordable
works which reflect the young and emerging art-
ists from SE Asia and as you mentioned, from
Cambodia and as far as Pakistan as well, so how
have these artists and their works been chosen?
We are very open to anyone who approaches us,
we never make pre-judgments without at least
seeing some work from the artist, so we have al-
SINGAPORE
ways been perceived as kind to young and emerg-
ing artists, although we also showcase several
established artists as well. Initially, we had several
Singaporean artists interested in showing us their
work, and then we found a niche for Philippine art
from 2006, because no other gallery was show-
ing it in a sustained and concerted fashion here
in Singapore. Actually we’ve always shown Filipino
artists, even in our first group show, but six shows
in 2006 made a greater impact (we did eighteen in
2009). We became well-known as the gallery with
the first overseas solo exhibitions of many Filipino
artists and we are in fact the largest showcase of
Philippine artists in the world outside of the Phil-
ippines, so this has led to several artists inquiring
about exhibiting with us, and with high demand,
we could afford to pick and choose the good ones!
And we’ve had several good artists pass through
our doors, many of whom are now enjoying auc-
tion coverage in Sotheby’s and Christies.
TPAG: Lastly how do you see Utterly Art growing
and contributing to the local art scene in, lets
say...the next 10 years?
We do want to grow, improve and continue show-
ing art that we enjoy, and continue giving oppor-
tunities to good artists. It is admittedly quite com-
petitive now, and more difficult to get ‘noticed’
amongst the several exhibitions that open every
week (although we are responsible for many of the
openings ourselves with almost 30 shows a year
– we believe we are the most frequent exhibitor in
Singapore). We have always believed in sustain-
able growth for artists, not jacking up prices when
detecting demand so that our artists will not be a
‘flash in the pan’; here one season and gone the
next. In our next phase, we hope to start bringing
more artists abroad through shows and art fairs.
This year, we made our first foray overseas this
February, into Hong Kong at the Asia Top Gallery
Hotel Art Fair at the Mandarin Oriental Hong Kong.
We hope to take our artists to the next level at auc-
tions and art fairs – judiciously.
JUNE 2011 / 53
PERSPECTIVES

Entering the
Singapore space
Text: Gladys teo

Shopping Trolley 2011, Aerosol

paint, ink and stencil on canvas,
92 x 143 cm

KA’a,
Duo-artists
Jamie Paul,
Artist

Linda Sim,
Photographer

Nebula Series - Untitled 5 2008,

Print 85 x 85 cm

54 / TPAG
 THE SINGAPORE SPACE

$ingapoor Dream 110cm x 150cm

Steve Lawler,
MOJOKO
Camilla
Hewitson,
AAF

CIRQUE DU MACABRE, Giclée

print 60 x 90cm

The Affordable Art Fair (AAF) 2010

JUNE 2011 / 55
PERSPECTIVES
I am standing at the crossroads of Joo Chiat
Road and Marshall Lane in Singapore. An old man
with a toothy smile rides by on a trishaw, humming
Hokkien tunes over the loud rumble of a Shakira
tune blasting from a speaker in a nearby pub. An
Australian family strolls by, munching on curry puffs
and fishcakes in banana leaves. They hop to the
side of the narrow road as a biker chick, carrying a
box of ‘Brothers’ bittersweet apple cider squeezes
past in a hurry. I watch the sun setting against high-
rise flats and rows of converted shop houses and
reflect – this could be the perfect setting for a film.
But where exactly would it be?
The jumble before me, with its intense layer-
ing of oriental and occidental, past and present,
makes Singapore a complex but artistically inspir-
ing city. Steve Lawler, the man behind art organisa-
tion Mojoko, has been based in Singapore for more
than eight years after having lived in Iran, Hong
Kong, the United Kingdom and Italy. This ‘halfway
house’ is perfect for him as he wonders the streets
looking for cheap paints, antique knick-knacks and
toys that he can pull apart to create new works of
art. “The grass is green on both sides, you have
Asian and western comics on the same bookshelf..
then you go to Mustafa and see the mosaics on the
floor, and the medicine packages in Chinatown.
You can’t get this anywhere else,” he says with a
chuckle.
The same sentiment is shared by Jamie Paul,
a British artist who moved to Singapore from Syd-
ney more than three years ago. He uses an abun-
dance of pop culture references in his art, and to
him, Singapore’s magazines and media, such as
television and film present an interesting ready-
made collage of East and West. “I don’t think cul-
ture (in Singapore) is being imported; it is being
developed and it’s a fascinating opportunity to be
part of its development and vibrancy.”
It is true that Singapore’s art scene has been
portrayed in numerous publications as hot, trendy,
and up-and-coming. A quick survey of the number
of institutions, galleries and art spaces has been
something of a testament to this. Everyone is trying
get a bite of the pie, and this is demonstrated not
only by ‘grassroots style’ small-scale events such
as Post Museum’s initiatives, but also by an ongo-
ing push by large scale institutions and fairs.
“There is something to go to every week,
fairs, exhibition openings, not just institutions but
56 / TPAG
kids throwing parties with visual arts and exhibition
elements,” observes Mojoko. While the potential of
Singapore’s art market is undisputed, a big ques-
tion lies in the minds of many: can western artists
who desire to be part of this developing market af-
ford to stay here through the entire course of its
development? After all, Singapore is among the ten
most expensive cities in the world to live in, and are
these artists generating enough sales to cover rent
and living expenses?
“It’s not easy,” Jamie acknowledges, “it is
harder to sell my works here as the market is a
lot smaller. In Sydney, the market is more mature
and the level of disposable income is comfortable,
people buy art as they can afford to. In London,
there is a diverse range of collectors purchasing
art, however, in Singapore, buyers are more cau-
tious and prefer to look at the CV, track record,
and exhibition history of artists.” However, there
is a flip side to this coin. Artists like Paul relish a
growing market over mature, saturated ones in
the big cities of Australia, New York and London.
He observes that more opportunity is presented in
Singapore. Firstly, galleries are more open to ex-
hibiting new artists, secondly, the dozens of com-
mercial galleries navigating the cultural landscape
constantly offer exhibition space, curating solo and
group shows to capture the new burgeoning col-
lector base in Singapore. Finally, new collectors are
in general more receptive towards newer artists
and mediums.
International aerosol and stencil artist Kirsty
Furniss, who is part of the acclaimed duo KA’a, has
benefitted from the smaller but developing market
here. “In a small place like Singapore, you get to
know more people in the industry, and the intimate
contact between galleries and fellow artists comes
in handy and is mutually beneficial when galler-
ies are looking for new artists to showcase work
and artists are looking for galleries to market their
work. People in Singapore are also very receptive
towards contemporary art, unlike many parts of
France where audiences are still quite conserva-
tive and do not readily accept mediums like aero-
sol and stencil art.” In fact, Kirsty, like many other
foreign artists who have exhibited in Singapore,
cherishes the value to exhibit in Singapore. “That
you’ve exhibited overseas, especially in Asia, is
valued even in mature markets. In France, buyers
are definitely interested in whether you have had

international recognition. Exhibiting in Singapore
helps us in France, which allows us to gain more
recognition when we come back to Singapore,”
Kirsty explains the cycle.
Camilla Hewitson, director of Affordable Art
Fair Singapore, explains that the key to capturing
the new collector base in the Lion City is pricing
and affordability. The excellent sales revenue of
galleries exhibiting at the inaugural Affordable Art
Fair Singapore last year proved that the buying
market in Singapore has potential. Singapore is a
large cosmopolitan city where the tastes of buyers
are varied, and this presents opportunities for art-
ists and galleries to capture their client base, which
will differ from gallery to gallery, artist to artist.
Nevertheless, costs remain a sticky issue for
expat artists based in Singapore. Finding an af-
fordable roof over their heads is a thorny issue, let
alone finding additional studio space to work in.
Most of these artists are also not eligible for fund-
ing or studio grants from the government as much
of the funding allocation is directed towards local
artists. While there are private independent initia-
tives such as Post Museum which offers affordable
studio space and artists residencies (KA’a was a
grateful recipient of this), such spaces are hard to
come by.
The lack of studio space is a common gripe
of artists in Singapore, be they foreign or local. Yet,
the search for alternate space has led to interesting
developments. Mojoko rationalises that the trend
towards multimedia art forms and design is a logi-
cal result of a lack of space: artists have taken their
studios online, working on computers rather than
relying on physical space. This has encouraged
the integration of visual art, multimedia art, fashion
and design, blending commerce with experimen-
tation in interesting, and engaging ways. A recent
example, Them.sg, is an experimental project that
brings together fashion designers and visual art-
ists, producing multimedia installations that could
completely replace the need for physical catwalks
one day.
Swedish-Austrian photographer Linda Sim,
who grew up in Germany and lived in Australia,
moved to Singapore less than one year ago, and
is still perplexed and challenged, albeit in an ar-
tistically positive way, by the lack of space in Sin-
gapore. “Everything here is so dense; it’s all solid
structures, organised opaqueness, and it is so pat-
THE SINGAPORE SPACE
terned that you can’t see the individual anymore.”
Sim elaborates on this by describing the large
number similar-looking public flats in Singapore,
with their overwhelming similarities and organised
patterns causing her to lose sight of individual win-
dows. “And the queues, somehow when individu-
als join the queues, they lose their individuality. I
don’t see them as individual persons anymore but
just a long queue!” A conceptual photographer,
Linda’s search for space in this dense city has
prompted her move into a new experiment where
she is seeking space through a highly unconven-
tional medium: science. Currently working together
with the quantum physicians at the National Uni-
versity of Singapore, Linda is exploring the parallels
between art and the quantum of space. This highly
experimental installation, Timensions, will be exhib-
ited at the Singapore Art Museum next year.
In a city where old shop houses meet glossy
shopping malls, and where old men sit on park
benches singing to birds beside students clad in
jeans burrowing their noses in their iPhones, con-
tradictions are part of the landscape. But such
eclecticism has fertilised the city’s art attractive-
ness, and Western artists have thronged in, eager
to be part of the discourse and a market that is
growing. Occupying the same dream and defined
by a common sensuousness, they face numerous
constraints in living costs and a lack of space, but
the temptation of helping to co-design a new cul-
ture simply by being part of the city’s interesting
new mix is perhaps too great.
JUNE 2011 / 57
 C

CM

MY

CY

CMY

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

58 / TPAG
Art Trove Cal
 Art Trove

960s

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

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment
Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, enquiry@art-trove.com
ww.art-trove.com JUNE 2011 / 59
 SINGAPORE’S ART & BU
KIT
HERITAGE DISTRICT RD
TIM
AH
TS RD
OT
SC

RD
CLE

N
OO
MEN

NG
CEA

RA
U AV

SE
CA

E
IR
NH
- Art Forum
- The Tolman Collection

ILL

R
RD

RD
Larasati

SA
Art GoGo

BE
TS

YOUR Mother Gallery

OT

N
- Pop and BU

LA
AY
KI
SC

Contemporary
T

JA
AL EXPRESSW
Fine Art TI
D M ST
- Gallery Reis Artspace @ The DR AH IA
Royal on Scotts
F OR RD R
DE C TO
OR I VI
CH
AR B
DR
Third Floor Hermes D - Heng Artland

NTR
- Jasmine Fine Art
- Sin Hua Gallery

CE
Night & Day
- Drawing Gallery
Opera Gallery

SELEGIE RD
Vue Privée

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

ST
ORC

N
HAR AY

LE

RD
DR W

O
D
GH

GE
HI

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LE

BE

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NI

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Foundation Oil

RT
CE
Painting

NO
IN
ORC
HAR PR
The Picturehouse
D RD
Young Musicians’ Society
ORC
HAR
D RD Forest Rain Gallery
Singapore
Calligraphy Centre
Art Trove, The Private RO
BR Museum, M Gallery, C
AS H
Yavuz FA
8Q SAM O
OVAS Art Gallery BA R
Action Theatre SA RD
H Singapore
RD Art Museum
RIVER VALLEY RD
National Museum Eagle’s Eye
of Singapore Art Gallery
Impress Galleries Fort Canning
Park

FOST Gallery
The Substation
KIM

Peranakan Museum
SE
NG

Singapore Philatelic Chan Hampe

RO

DBS Arts Centre Museum Galleries

AD

Singapore Repertory Theatre RI

VE
R
72-13 VA
L LE
Y
RD

GANGES
AVE

ARTXCHANGE Gallery The National

M

Art Gallery, The Esplanade

ER

Singapore
CH

ST
AN

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T

HI

RD
RD

AY
SW IVE
GE

HA
S VE
DR
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ID

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EASTCOAST PARK EXPRESSWAY

P
BR

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DE

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H

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UT

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NT
PLA
SO

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ES
NG

HA
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LO
NG

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RD
TO
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59 / TPAG
 HO
DEMPSEY, HOLLAND, TANGLIN & WESSEX
AN
DR
LL
LEGEND
OA
D

MAIN ROAD
SMALL ROAD
EXPRESSWAY

WAY
Source
Contemporary
African Fine Art ART GALLERY

ENS
Singapore NAS
Botanical Garden SIM
ROA
PUBLIC PLACES

QUE
D

NAPIER ROAD SCHOOLS

A D MRT
RO
IN
N GL The Gallery of Gnani
TA Arts, GJ Asian Art
Boon’s Pottery,
Bruno Gallery
CO
M
M
O
NW The Peach
Echo Art Gallerie
Ha Karen Art Gallery GALLERY SPOTTED
EA Tree Hogarth Art London
LT

AD
H Kwan Hua Art Gallery
AV Li Fine Art

RO
E Mulan Gallery

IN
Peter’s Frame

GL
Sun Craft

N
Yang Gallery

TA
Barrosa Studio, D’Art, Geeleinan Art
Gallery & Studio, Kelly Reedy Studio
Arts, Marisa Keller, Sealey Brandt
Photography Studio,

Art Trove Gallery

51 Waterloo Street
RI #02-01/2/3
VE
TANJONG PAGAR, CHINATOWN & RAFFLES R
VA
L Singapore 187969
LE
ALEXANDRA RD Y
RD

E DR
T: +65 6336 0915

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F: +65 6336 9975
RD

E: enquiry@art-trove.com
AY
SON

SW HA Momentous Ats W: www.art-trove.com

EASTCOAST PARK EXPRESSWAY

ES VE
DER

LO
OUTRAM RD

R
E XP CK
RO Opening Hours
HEN

L
RA AD
NT
CE
Wed- Sun:
Artcommune Gallery,
11am to 6.30pm

AY
Ken Crystals Call for private viewing

QU
DreamSpace Art Studio
MERLION

ER
Sotheby’s Institute of Art
iPRECIATION

LLY
Galerie Sogan & Art The Fullerton Heritage
Collectors Contemporary,
RD

CO
Mercedes-Benz Center,
Volvo Art Loft
GE

Utterly Art
ST

ID
BR
NG
SE

JL
UT
NG

N
BU
SO
TO

KI
T
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M
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ER Outram
AH
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Station
RD
RD
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Chan Hampe / Fill-your-walls

G

ON

Jeremy Ramsey
ID

Living Portrait
GAR

AY
BR

Fine Art
NS

D Galerie
W

IL R
BI
M

Belvedere
NG PA
NE

NE
RO
AX

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W

CENTRAL BLVD
EN
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Indigo Blue Art

TANJO

SH
L

Red Dot Traffic

RD
CAN

AY
E R
TON

RA
JA Tanjong Pagar Marina Bay
H Station
RD
MEN

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EX
N

PR
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TR

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AN

SW
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AY Give Art

AYER RAJAH EXPRESSWAY

RD Fortune Cookie Projects, Galerie Waterton,
L Light Editions Gallery, L2 SPACE,
P PE ReDot Gallery, Valentine Willie Fine Art
KE
MARCH
JUNE 2011
2011 // 63
62
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
Arty Art Gallery 686A Woodlands Drive 73 #15-52
ARTXCHANGE Gallery
6 Eu Tong Sen Street
#02-65 The Central
Singapore 059817
T: +65 9027 3997 (Benny)
www.artxchangegallery.com
B F
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
Bartha & Senarclens 75 Emerald Hill Road
C G
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,
Liang Court , #02-09A
Singapore 179030
T: +65 9846 2098 / +65 9721 3718
www.9911art.com
DLR Gallery 22 Marshall Road
Dynasties Antique & Art Gallery 18 Boon Lay Way #01-136
E
Eagle’s Eye 39 Stamford Road #01-01
Echo Art Galerie 19 Tanglin Road #02-59
Evil Empire 48 Niven Road
fill your walls
21 Tanjong Pagar Road
#04-02
Singapore 088444
T: +65 6222 1667
www.fill-your-walls.com
Forest Rain Gallery
261 Waterloo Street
#02-43/44
Singapore 180261
T: +65 6336 0926
www.forestraingallery.com
FOST 65 Kim Yam Road
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
 DIRECTORIES

Gallery Reis 390 Orchard Road #03-01/02

Muse The Art Gallery
268 Upper Bukit Timah Rd
The Gallery of Gnani Arts #03-09 @ The Old Fire Station
1 Cuscaden Road Singapore 588210
#01-05 The Regent T: +65-8388 0044
Singapore 249715 www.musetheartgallery.com
T: +65 6725 3112
www.gnaniarts.com

O
Ode to Art 252 North Bridge Road #01-36E/F
H Ooi Botos Gallery 11 One Tree Hill
HaKaren 19 Tanglin Road #02-43 Opera Gallery 2 Orchard Turn #03-05
Heng Artland 290 Orchard Road #04-08
OVAS Art Gallery
9 Penang Road
I #02-21 Park Mall
Singapore 238459
Impress Galleries 1 Kim Seng Promenade #02-07/08 T: +65 6337 3932
Indigo Blue Art 33 Neil Road www.ovas-home.com
INSTINC 12 Eu Tong Sen Street
iPRECIATION 1 Fullerton Square #01-08

P
K
KARTESTUDIO 181 Orchard Road #B2-23/29 Pop and Contemporary Fine Art
390 Orchard Road
Ken Crystals #03-12 Palais Renaissance
6 Eu Tong Sen Street Singapore 238871
#03-72 The Central T: +65 6735 0959
Singapore 059817 www.popandcontemporaryart.com
T: +65 6339 0008
E: kencrystals@yahoo.com.sg

R
Kwan Hua 19 Tanglin Road #02-09
ReDot 39 Keppel Road #02-06
Red Sea 9 Dempsey Road #01-10
L
L2 Space 39 Keppel Road #02-02A
S
Larasati www.larasati.com
S.Bin Art Plus 140 Hill Street #01-10/11/12
Li Fine Art
19 Tanglin Road Galerie Sogan & Art
#03-32 Tanglin Shopping Centre 33B Mosque Street
Singapore 247909 Singapore 059511
T: +65 6235 3306 T: +65 6225 7686
www.lifineart.com Hp: +658138 0277
www.soganart.com

Linda Gallery 15 Dempsey Road #01-08

Light Editions Gallery 39 Keppel Road #02-02B Sun Craft 19 Tanglin Road #02-08
Living Portraits 31 Tanjong Pagar
Lukisan Art Gallery 110 Faber Drive Sunjin Galleries
43 Jalan Merah Saga
#03-62 Work Loft @ Chip Bee
M Singapore 278115
T: +65 6738 2317
M Gallery 51 Waterloo Street #03-03B/04 www.sunjingalleries.com.sg
Metakaos 1 Kaki Bukit Road 1 #03-22
Mulan Gallery 36 Armenian Street #01-07

JUNE 2011 / 65
DIRECTORIES
T MUSEUMS
Tasa Gallery 89 Short Street
Tembusu 140 Hill Street #01-05
The Gallery of Gnani Arts One Cuscaden Road #01-05
The Peach Tree 129 Tanglin Road
The Tolman Collect 82 Cairnhill Road
U Red Dot Design Museum 28 Maxwell Road
Utterly Art LLP
229A South Bridge Road
Singapore 058778
T: +65 9487 2006
+65 6226 2605
www.utterlyart.com.sg
V #02-01 The Luxe
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
Xuanhua Art Gallery 70 Bussorah Street
Y Gnani Arts Space 190 Middle Road #02-03/31
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
# Osage 11B Mount Sophia #01-12
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
66 / TPAG
Asian Civilisations Museum www.acm.org.sg
Changi Museum 1000 Upper Changi Road North
MAD Museum of Art & Design 333A Orchard Road #03-01
MINT Museum of Toys 26 Seah Street
National Museum of Singapore 93 Stamford Road
Peranakan Museum 39 Armenian Street
Post Museum 107/109 Rowell Road
The Private Museum 51 Waterloo Street #02-06
RSAF Museum 400 Airport Road
Singapore Art Museum 71 Bras Basah Road
SAM at 8Q 8 Queen Street
Singapore Coins and Notes Museum
2 Trengganu Street Level 3
Singapore Navy Museum 32 Admiralty Road West
Singapore Philatelic Museum 23B Coleman Stree
The Luxe Art Museum
6 Handy Road
Singapore 229234
T: +65 6338 2234
www.thelam.sg
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
ArtSpace at Royal Plaza Hotel 25 Scotts Road
COMBINART 27 Woodlands Industrial Park E1 #01-08
Esplanade 1 Esplanade Drive
Emily Hill 11 Upper Wilkie Road
Give Art 65 Spottiswoode Park Road
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
Ngee Ann Cultural Centre 97 Tank Road
Night & Day 139 A/C Selegie Road
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
 DIRECTORIES

The Gallery (SMU) 90 Stamford Road ART SCHOOLS

The Picturehouse 2 Handy Road Bhaskar’s Art Academy 19/21 Kerbau Road
The Substation 45 Armenian Street LASALLE 1 McNally Street
Third Floor – Hermès 541 Orchard Road Nanyang Academy of Fine Arts 38/80/151 Bencoolen St
Victoria Theatre & Concert Hall 11 Empress Place NTU (School of Art, Design & Media) 81 Nanyang Drive
Volvo Art Loft 249 Alexandra Road
NUS Museum 50 Kent Ridge Crescent
72-13/TheatreWorks 72-13 Mohamed Sultan Road
School of the Arts (SOTA) 1 Zubir Said Drive
Sotheby’s Institute of Art 82 Telok Ayer Street
ART SERVICES The Republic Cultural Centre 9 Woodlands Avenue 9
The Singapore Tyler Print Institute 41 Robertson Quay
m’a ARTS
Transportation & Installation of Art
Works Other art related services. ARTIST STUDIOS
+65 8611 5280 Barrosa Studio 4 Woking Road #01-02
alfred@maarts.com.sg
Chieu Sheuy Fook Studio
Studio 102
91 Lorong J
Telok Kurau Road
Ray’s Transport & Services Singapore 425985
Artwork Installation & +65 96690589
Delivery Services email: chieusf@gmail.com
All other Art related services
+65 91522511
artswithray@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
FRAMERS www.hill-ad.com.sg
Ace Framing Gallery 226 River Valley Road
Frame Hub Gallery 46A Lorong Mambong
Foundation Oil Painting
Peter’s Frames 19 Tanglin Road
(conducted by Mr Wee Shoo Leong)
155 Waterloo Street
#01-04 Stam ford Arts Centre
Singapore 187962
CONSERVATION / RESTORATION +65 9726 2028
www.foundationoilpaintingclass.com
Benaka Art Conservation Private Ltd 64 Taman Warna
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

Tourist Spots
Armenian Church 60 Hill Street
Battle Box 51 Canning Rise
Botanic Gardens 1 Cluny Road +65 6471 7361
Buddha Tooth Relic Temple 288 South Bridge Road

JUNE 2011 / 67
DIRECTORIES
Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782
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
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
68 / TPAG
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
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
Fabrik Contemporary Art www.fabrik-gallery.com
Gagosian Gallery www.gagosian.com
Galerie Huit www.galeriehuit.com.hk
Hanart TZ Gallery www.hanart.com
I/O Input Output www.inputoutput.tv
Karin Webber Gallery www.karinwebbergallery.com
King’s gallery www.kingsgalleryhk.com
MADHOUSE Contemporary www.madhouse.com.hk
Madhouse Contemporary www.madhouse.com.hk
New Gallery on Old Bailey www.newgalleryonoldbailey.com
Shin Hwa Gallery www.shinhwagallery.com
Yan Gallery www.yangallery.com
LONDON ART GUIDE
AICON GALLERY London 8 Heddon Street, London W1B 4BU
Chinese Contemporary
The Studio House, 7/9 Edith Grove ,London, SW 10 0JZ
Danielle Arnaud contemporary art
 DIRECTORIES

123 Kennington Road, London SE11 6SF Art Daegu www.artdaegu.com

Hai Gallery 46a Harrowby Street, Marble Arch, London W1H 5HT
Halcyon Gallery 24 Bruton Street, London W1J 6QQ
Jealous Gallery 27 Park Road N8 8TE Crouch End London
Kings Place Gallery 90 York Way, London N1 9AG
Lisson Gallery 52-54 Bell Street, London, NW1 5DA
Richard Green147 New Bond Street, London, W1S 2TS
Serpentine Gallery Kensington Gardens, London W2 3XA
South London Gallery 65 Peckham Road, London SE5 8UH
The Air Gallery 32 Dover Street, London W1S 4NE
The Brick Lane Gallery 196 BRICK LANE, E1 6SA London
The Hart Gallery 113 Upper Street, Islington London N1 1QN
Walton Fine Arts
154 Walton Street, Knightsbridge, London SW3 2JJ
EUROPE ART GUIDE
FLO PETERS GALLERY
Chilehaus C
Pumpen 8
20095 Hamburg, Germany
+49 40 3037 4686
www.flopetersgallery.com
Melbourne Art Fair www.artfair.com.au/fair
Auckland Art Fair www.aucklandartfair.co.nz
Asia Top Gallery Hotel Art Fair Seoul (AHAF)
www.hotelartfair.kr
Art Taipei www.art-taipei.com
SH Contemporary www.shcontemporary.info
Shanghai Art Fair www.sartfair.com
ARTSingapore www.artsingapore.net
Fine Art Asia www.fineartasia.com
Art Canton (Canton International Art & Collection Fair)
www.artcanton.com
Art Expo Malaysia www.artexpomalaysia.com
Affordable Art Fair (Singapore) www.affordableartfair.sg
Contemporary Istanbul Art Fair
www.contemporaryistanbul.com
Art Stage Singapore www.artstagesingapore.com
India Art Summit www.indiaartsummit.com
Art Dubai www.artdubai.ae
Contemporary Istanbul Art Fair
www.contemporaryistanbul.com

© 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

JUNE 2011 / 69
70 / TPAG
JUNE 2011 / 71
72 / TPAG