T PAG PAG JAN 2 01 ISSUE 2 7 2 7 T JAN 2 01 2 / 2 / ISSUE

| Asias Global Art Magazine ISSUE 27 JAN 2012

Wu Qiong, The Hairstylist, 150 x 110 cm, oil on canvas

Sunjin Galleries (S) Pte Ltd Village: 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278 115 Shenton Way: 2 Mistri Road, #01-02 Lumiere, Singapore 079 624 Tel: 6738 2317 | www.sunjingalleries.com.sg | blog: www.sunjingalleries.blogspot.com

T PAG Janu ar y 2 0 1 2 / I s s u e 27

Conte nts
EDITORS LETTER 6 ART WIRE
4

Gallery updates and events

12

Pablo Picasso: Light of Paris

IN THE FRAME
PORTFOLIO: Frontiers
32
Painting a picture of the Chinese buyer

20

Spray-painting the Little Red Dot

FEATURE

PORTFOLIO: Business Models

36
Art and banking go to dinner

40

PERSPECTIVES

Beyond the Chinese landscape

42 26
Beyond Pressure, Festival of Performance art, Myanmar 2011

ART LANDS

Vacant Spaces

SPACE

47

Art Galleries in Singapore

MAP

30

Sonic Boom: Graffiti on the Map

GLIMPSE

DIRECTORY LISTING 60 CLASSIFIED

52
3

editors
Dear Readers,

l e tte r

ISSN 2010-4375 / MICA (P) 130/03/2011

Editor-in-Chief

Remo Notarianni
remo@thepocketartsguide.com

As The Pocket Arts Guide (TPAG) wishes you a Happy New Year, no doubt your anticipation of 2012 is already stirred by another gargantuan event. Art Stage reaffirms that major players are gravitating towards Singapore. Its vibrant local community of galleries has become part of an arena; one that is also looking towards the Little Red Dot for creative breakthroughs. This issue looks at graffiti in Singapore. The art form, like performance art, seems to be an indicator of tolerance in a place. Some think that it is the responsibility of the art world to bring graffiti into its fold, and that goes beyond creating new definitions for it or just putting it in a respectable corner. However, as much of the debate rests on private and public, the argument is also about spaces being conducive enough to nurture and accept new categories of art. This issue also looks at the revolutionary curatorship of Australian artist Adam Nankervis who presents an organic space instead of one that is a pre-arranged showcase of work. As new types of artwork enter galleries, the spaces themselves are transforming. And it begins with presenting gallery spaces in new and exciting ways to make way for refreshing kinds of art. It is not the role of an art publication to reaffirm categories and labels but to help the understanding of something that ideally goes beyond words and which should not require the expositional. And so in 2012, TPAG will continue to illustrate a visual language with a written one by presenting alternative perspectives instead of attempting explanations. We wish you an interesting and prosperous year ahead.

Art Director

Melvin Ho

melvinho@thepocketartsguide.com

Contributors

Daniela Beltrani, Gladys Teo

Advertising Sales

sales@thepocketartsguide.com Hong Kong Contact: sallylee@thepocketartsguide.com T: (852) 9095 6316

General enquiries and feedback

mktg@thepocketartsguide.com

Submission of press releases

pr@thepocketartsguide.com

On the Cover

Remo Notarianni
Editor-in-Chief

Picasso dans Latelier (s.ta145, 7689) Pablo Picasso, La Californie, Cannes by Andr Villers (Born 1930), 240 x 333 mm Silver gelatin print, circa 1960, Original issue on Baryte paper, signed by the photographer in ink (recto) and stamped verso.

04 TPAG | Jan 201 2

art wire

Between Fragments: A Dialogue with the Abstract 12.01.12 1.02.12

Indigo Blue www.indigoblueart.com
Singapore

RICHARD KOH FINE ART & ARNDT PRESENTS 10.01.12 31.01.12

Richard Koh Fine Art (RKFA) www.rkfineart.com
Singapore

Old Campus Revisited: A Chua Ek Kay Collection of the Catholic High School 11.01.12 11.03.12
The Private Museum www.theprivatemuseum. org/
Singapore

Between Fragments features a group of renowned Indian abstract artists including works by S.H Raza, Sohan Qadri, Shoba Broota, Ram Kumar, G.R Santosh, Ganesh Haloi, Prafulla Mohanty, Rajnish Kaur, S. Harshavardhana. The notions of life, art and spirituality are deeply explored and closely interlinked in the works of these artists. With a strong sense of presence and mystery, these abstract works transcend the boundaries of logic and language; they transform and engage ones whole being. The sublime language of the artwork doesnt demand painstaking study or critical appreciation but absorption of heart and mind to be fully understood. In that sense, it transcends art appreciation to rely on intuition and a universal ethos that has an intimate connection which can be picked up by anyone with a sense.
06 TPAG | Jan 201 2

Richard Koh Fine Art (RKFA)s exhibition RICHARD KOH FINE ART & ARNDT PRESENTS will feature few giants of the international contemporary art scene: Sophie Calle from France, Gilbert & George (born in Italy and the United Kingdom respectively), Swiss artist Thomas Hirschhorn, native New Yorker George Condo, Brazilian Vik Muniz and Belgian Wim Delvoye. Having previously been invited to exhibit in some of the most important institutions in the world including Guggenheim, MoMA, and the Whitney Museum in the USD, Tate Modern and the Hayward Gallery in the UK, and other public museums, these artists and their work will be familiar to most. This is a diverse group with work ranging from conceptual art to experiments in painting, yet these artists are all of similar standing, watched for their impact on the current day.

The Private Museum presents an exhibition which showcases the Catholic High Schools special collection of paintings by the late local artist, Chua Ek Kay, who is an old boy of the school. He is known for his combination of Eastern and Western art techniques and theories in his works. A special selection from the Catholic High School Chua Ek Kay collection will be featured in this exhibition with subject matters ranging from traditional Chinese paintings of birds and flowers, to old local buildings and abstractions which reflects the evolution of Ek Kays artistic practice. The highlight of this exhibition is the display of four Chinese ink paintings of the former Catholic High School campus at 222 Queens Street, now 51 Waterloo Street. Ek Kay specially painted these four artworks in 2005 with the sole purpose of donating them to the Catholic High School and its new campus.

Asia Pacific Breweries Foundation Signature Art Prize 2011 Finalists Exhibition 11.11.11 04.03.12

Singapore Art Museum www.singaporeartmuseum.sg

Singapore

Retrospective Exhibition of Jia Haoyi - The Poetry of Vitality 9.12. 11 8.01.12

Luxe Art Museum www.thelam.sg
Singapore

The Asia Pacific Breweries (APB) Foundation Signature Art Prize is an award to recognise artists whose artworks represent a significant development in contemporary visual art in the Asia Pacific region. Aimed at recognising the single most outstanding contemporary visual artwork produced in the preceding three years, the award is open, by nomination, to all visual artworks, regardless of medium, subject matter and size. Now in its second instalment, the award reaches out to 24 countries and territories in the region, including Australia, China, India, Indonesia, Japan, Korea, New Zealand, Mongolia, the Oceania islands, the Philippines, Singapore, Thailand, Vietnam and many others. From the 130 nominated artworks, 15 finalist artworks were selected and exhibited in SAM. The exhibition offers an excellent opportunity to see and discover some of the most exciting contemporary art produced in this dynamic region in the last three years. An international jury will then convene to judge the exhibited finalist artworks and select the winning artworks.

Panu (All) Paddy JAPALJARRI STEWART Solo Exhibition 15.02.12 31.03.12

ReDot Fine Art www.redotgalllery.com
Singapore

Singapores ReDot Fine Art Gallery will host Paddy JAPALJARRI STEWARTs first ever Solo Exhibition, titled Panu (All); a fitting climax to a career of a man whose knowledge of the desert and its mystical laws is ALL encompassing. We are fortunate enough to have the only exhibit of replicas of the Yuendumu door school project along with the artist proof version of the works on paper. Paddy has painted this entire series, recounting and re-telling each of the dreaming depicted on those iconic doors so many years ago. The combination of Paddys stately importance within the Warlpiri community, the deferral to his ancestral knowledge, his advancing years, combined with the impact and cultural significance of the doors, make this particular exhibition a once in a lifetime experience.

Jia Haoyi (Born 1938 in Zun Hua of Hebei Province), graduated from Arts Faculty, Beijing Institute of Fine Arts in 1961. In 1978, was transferred to Beijing Fine Art Academy. Since 1988, held personal exhibitions and another in Chinese Art Gallery, Jiang Su Provincial Art Gallery, He Xiangning Art Gallery, Korea Seoul Art Gallery and Singapore and so on. He has participated in numerous big national art exhibition internationally too. In 1997, he built Lao Jia Art Gallery. He is also the President of Lao Jia Art Gallery, member of Chinese Artists Association. currently. Today Jia Haoyi is known as one of Chinas top traditional painters. His magnificent freehand brushwork portraying subjects like horses, bulls and landscapes has won him decades of admiration. He has infused his northern Chinese character into his art and his magnificent freehand style has won him fame and praise around the world. Many of his works have been displayed at international exhibitions and collected in museums in Asia as well as other continents.
07

art wire

Art Plural at Art Stage Singapore 2012 Pablo Reinoso: A Solo Exhibition at Art Plural Gallery 16.01.12 03.03.12
Art Plural www.artplural.com Singapore

12.01.1215.01.12 Marina Bay Sands Hotel www.artstagesingapore.com Singapore Singapores Art Plural will showcase artists from Europe, America, and Asia at Art Stage. They experiment with a range of mediums including drawings, paintings, sculptures, and installations Ron ARAD, Rina BANERJEE, Fernando BOTERO, CHU Teh-Chun, FENG Shuo, Johanna GRAWUNDER, Robert INDIANA, Adriana MOLDER, Marc QUINN, Karim RASHID, Doug & Mike STARN, Fabienne VERDIER. It is the second year that we are exhibiting at Art Stage Singapore and we are proud to be part of one of the most exciting art fairs in South East Asia, comments Frdric de Senarclens, CEO of Art Plural Gallery. An icon of American Pop Art, the Love sculpture by American artist Robert Indiana takes centre stage at the fair. British artist Marc Quinn has orchestrated a potted plant bearing tropical florae like orchids and anthuriums alongside strawberries and bananas in the Nursery of Eldorado. Art Plural Gallery participation in Art Stage Singapore 2012 on booth no. D5-01 at Marina Bay Sands Convention Hall D.

The Artists Choice 19.12.11 20.01.12

Art Plural Gallery is pleased to announce the inaugural solo exhibition of French-Argentinean artist Pablo Reinoso in SouthEast Asia. The exhibition titled Pablo Reinoso: A Solo Exhibition features 15 sculptures, specifically created by the artist for his Singapore premiere. In the one off event, the solo exhibition is in front of the artist. Pablo Reinoso, inspired by a multicultural upbringing in both Argentina and France, is an artist, designer and researcher. He plays with sculpture and hones his craftsmanship using wood, slate, brass, marble, and steel. Reinoso focuses his search on the entity, its transference, and the unconscious, using space and time as an environment. Pablo Reinoso is highly-revered internationally. Reinosos large-scale sculptures are displayed in prominent artistic cities like New York, Paris and Tokyo, and we are proud and privileged to introduce his works in SouthEast Asia, comments Frdric de Senarclens, CEO of Art Plural Gallery.
08 TPAG | Jan 201 2

Artcommune gallery www.artcommune.com.sg

Singapore

Artcommune organised the 1st and 2nd generation Singapore artists exhibition in July, and received a very good response from the public. In conjunction with its efforts to enhance public awareness for Singapore art and our art history, artcommune gallery will stage the same exhibition again, featuring more artworks. A total of 30 over pieces from 20 over artists will be on exhibit, covering western painting, Chinese ink and calligraphy works. Artworks on display date from 1930s to current. The collection includes Cheong Soo Pieng (), Chen Wen His (), Chen Chong Swee(); and calligrapher Pan Shou (), Chan Shou She (). Other artists include Chan Tan Nung ( ), Fan Chang Tien (), Tsue Ta Tee ().

THE BLUE MAGICIAN by BHARTI SINGH (India) 05.01.12 19.01.12

SOCIETE GENERALE Private Banking Gallery www.alliancefrancaise.org.sg

Singapore

Wu Xing: Five Elements 05.01.12 05.02.12 World Hug Day 14.01.12

Sundaram Tagore www.sundaramtagore.com
Hong Kong

Born in a Northern state of India, Bharti Singh is an Art Post Graduate. Her first Solo Exhibition was in 1983, at IFACS, New Delhi, India. Since then she has held several solo and group shows within India and overseas and participated in a number of workshops, camps and fundraisers. Her exhibition at Alliance Francaise is a celebration of the creative powers of the divine. I believe, the power to represent emerging thoughts on canvas with the help of various tools and mediums is the most precious privilege bestowed by the divine upon us. In my present collection, divine energy, my source of inspiration, is represented by the Blue man, Krishna or Krishna, repeatedly appears in my work with the FLUTE in his hand. Bharti celebrates the music of the divine flute that breathes the essence of life to all, and exerts its influence over various levels of existence. Other objects such as bells, flowers, cage, cows, masks and birds bear special significance in her work.

Event Plaza (at Marina Bay Sands) www.vueprivee.com

Singapore

Singapores Vue Privee is participating at Art Stage 2012 and will bring in the very famous and highly respected Gao Brothers to the event. In tandem, the dynamic duo will also be staging their famous art performance World Hug Day at the Event Plaza of MBS on Saturday 14th January. The Gao Brothers and Vue Prive are calling upon people, to be part of an exceptional realization art piece, with the aim of targeting and breaking the record of at least 1000 huggers. The event is a dynamic example of living art that makes people a central part of the composition. One act or gesture can have a coordinated effect that can change the world. Art has the power to change things for the good, creatively and in direct contact with people off the canvas and it just takes one idea and gesture.

Wu Xing: Five Elements, Jyoti Duwadis first exhibition in Hong Kong, is a site-specific multimedia installation where nature and culture merge. It interweaves drawings and paintings using earth pigments, turmeric and gum Arabic with sculptures made from beeswax. This installation offers a multi-sensory experience of smell, sound, and touch using natural materials . Wu Xing: Five Elements interprets the traditional Chinese elementsearth, water, fire, metal, and woodwhich represent the fundamental forms of energy. The variety of techniques and media in this installation reflects ideas of balance and transformation embodied in this ancient concept. Jyoti Duwadi, born into a family of poets and writers, was exposed to art and literature while growing up in Darjeeling, Varanasi, and Kathmandu. He moved to the United States in 1971 to study political science, earning a PhD from Claremont Graduate University, California.
09

art wire

Re-opening and celebration of nine years 15.01.12 30.03.12

Gaffer www.gaffer.com.hk
Hong Kong

Simone Boon: Hong Kong s Fotanian open Studios 2012 7-8.1.2012 14-15.1.2012
Fotanian www.fotanian.com
Hong Kong

Revitalising the Glorious Tradition:The Retrospective Exhibition of Pan Tanshous Art 25.11.12 02.05.12

Re-opening and celebrating the start of nine years in Hong Kong with an exhibition of new works by six Melbourne artists Simon Strong, Robert Doble, Ruth McCallum-Howell, Terri Brooks, Phil Stokes & Jane Hall. Howells large cast glass pieces are inspired by the organic formation found within nature. Brooks abstract oil paintings are her explorations and observations of inner-city Melbourne and its weathered patina, flaking paint, rusted metal, marked & graffiti covered red bricked walls that line the cobble stoned lanes ways built in the gold rush days of 1880s Melbourne CBD. Hall has been dedicated towards learning the old skills & tradition of Asian & Japanese printmaking through extensive travel and by being an artist in residence held in Japan, Italy, Nepal & Thailand. Hall repeats the process and overlapping blocks of ink are pressed leaving shades of built up single color marking the handmade paper.
10 TPAG | Jan 201 2

Dutch artist Simone Boon will join the Hong Kong Fotanian Open studios 2012 programme. She will open her studio to the public, with 260 artists from more than 80 studios.While her exhibition runs in the Fotanian, YY9 gallery will showcase her exhibition Flowing Energy. Boons work has a fluid sense that depicts energy in the material world and movement in an interaction between time and space. In her work across mediums, there is a combination of intellectual exploration and an intuitive shaping of materials. This creates an embodiment that expresses the relativity of entities in space and their relationship with time. There is a strong flow in the evolutionary images that depicts the changing positions of subjects. This is presented in phantom-like imprints that emerge into solid forms, but that cannot grow beyond their sense of fragility.

Hong Kong Museum of Art www.lcsd.gov.hk/ce/Museum/ Arts/english/exhibitions/exhibitions01_oct11_02.html

Hong Kong

Acclaimed by critics and art historians as one of the four giants of traditional painting, Pan Tianshou (1897 1971) was a leading exponent of modern Chinese art history. He developed a unique style which is characterised by expressive brushwork, vigorous form, forceful composition and monumental scale. Pan was an outstanding graduate of the Zhejiang Provincial First Normal College, he taught at a succession of art schools including the Shanghai College of Fine Arts, the Xinhua Art College, and the Hangzhou National College of Art. Selected from the Pan Tianshou Memorial Museum in Hangzhou, the exhibition features 36 works including landscape as well as flower and bird paintings and also calligraphy, accompanied by a number of valuable documents.

DAMIEN HIRST: The Complete Spot Paintings 1986-2011 Opening January 12, 2012 Vision of Nature: Lost & Found in Asian Contemporary Art 10.12.11 29.01.12
Gagosian www.gagosian.com
Hong Kong

Hong Kong Arts Centre www.hkac.org.hk/en/index.php

Hong Kong

2010, Hong Kong Arts Centres flagship exhibition Popping Up was a success. This year, Hong Kong Arts Centre has the internationally renowned curator Fumio Nanjo once again, to curate Vision of Nature: Lost & Found in Asian Contemporary Art, which draws together eight celebrated Asian contemporary artists and features a diverse selection of new and original artworks including paintings, installation, conceptual arts and public arts. A curatorial concept developing from a naturalistic depiction of the environment will further develop into a metaphysical representation, hence leading the beholder to transcend the conventional meaning of nature while exploring an intimate connection between the self and the nature. The philosophical representations of nature make us reflect on how our perceptions shape the world around us. That includes so-called absolutes such as the natural world.

An exhibition of Damien Hirsts spot paintings will take place simultaneously across all of Gagosian Gallerys eleven locations in New York, London,Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from 20 countries. Conceived as a single exhibition in multiple locations, The Complete Spot Paintings 19862011 makes use of this demographic fact to determine the content of each exhibition according to locality. In conjunction with the exhibition will be the publication of The Complete Spot Paintings 19862011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 19862011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus.

New Editions and Acquisitions 17.11.11 14.01.12

Alan Cristea Gallery www.alancristea.com
London

Featuring highlights from 2011, this exhibition will present the best examples of classic works by modern masters alongside new works by leading contemporary artists. Highlights of the show include a series of new woodcuts by Gillian Ayres, her first foray into the medium, which were made at Thumbprint Editions in Camberwell earlier this year. It also includes a series of pyrographic etchings by Gordon Cheung based on photographs of the notorious Abu Ghraib prison, Prismatic Diptych, the largest etching ever made by Ian Davenport and a series of new portraits by Julian Opie of his daughter and a school friend, inspired by Japanese Manga film cells. The exhibition is a good retrospective of old and new, and the contrasts are striking and consistent in their creative intensity. The show is a good review of a calendar of work that is creative and cutting-edge.
11

IN THE FRAME

Main top piece: In the arena (s.7689) by Andr Villers (Born 1930). From left to right: Picasso painting War and Peace for the film of Luciano Emmer (s.7689) by Andr Villers, Le Repos du Sculpteur devant les Chevaux et Taureau (s.7050 ) by Pablo Picasso, Picasso, rue des Grands Augustin, avec les chouettes (s.7689) by Denise Colomb (1902 - 2004), Devant La Chute dIcare - Vallauris, 1957 (s.7465) by Andr Villers and Picasso en Popeye (7689) by Andr Villers.

12 TPAG | Jan 201 2

Pablo Picasso

Light of Paris

DURING HIS TIME IN PARIS, SPANISH ARTIST PABLO PICASSO BECAME A LUMINARY AMONG ARTISTS, INFLUENCING THE CITY AS MUCH AS IT INFLUENCED HIM. SINGAPORES ART TROVE STARTS 2012 WITH AN EXHIBITION THAT PRESENTS SOME GROUNDBREAKING WORK BY THE ARTIST AND HIS CONTEMPORARIES.
Text: Remo Notarianni

This page, top: Cannes, 1957 (Picasso standing with a Vallauris 1957 poster in the background) (s.7461) by Andr Villers. Bottom: Portrait of Pablo Picasso (s. 7217) by Ehrmann (Born 1928).

13

IN THE FRAME Pablo Picasso: Light of Paris

Le repos du sculpteur III (s.6696) by Pablo Picasso (1881 - 1973)

n 1900 Pablo Picasso (18811973) arrived in Paris. At the time, the French capital was the epicenter of European art and in the decades that followed, the artist would become a leading lightwith an array of works that demonstrated groundbreaking innovation. In 1901, Picasso held his first Paris exhibition with French art dealer Ambroise Vollard. The collaboration proved to be instrumental in the creation, as well as the promotion, of some of his outstanding work. In the Vollard Suite, the publication of 100 etchings, created by Picasso between 1930 and 1937, was one of the art dealers landmark projects. Vollard championed some of the biggest names in art history. His artists, to name a few also included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau and Rouault. After his untimely death in 1939, the Vollard Suite fell into the hands of the art dealer Petiet. The prints in the Vollard Suite

bear the hallmarks of Picassos work. They include his classical preoccupations, such as the Minotaur (man-beast) and Pygmalion (the artist obsessed with the model), and his passion for woman including the young model Marie Therese. The exhibited collection is a cross-section of the artists work and many of the pieces are handsigned. The collection includes three choice works from the Vollard Suite of 1933, an originalsigned drawing by Picasso, and a fine colour linocut. One of the Picasso pieces is the Portrait of Mr B Cymermann (s.7689), an original drawing in ink on paper that was signed and inscribed by the artist. The artworks in the collection include original prints, drawings, lithographs, etchings and sculpture. The drawings have certificates of authenticity by leading art experts and the prints which are mainly hand-signed and from Limited Editionsinclude information that is

14 TPAG | Jan 201 2

From top: Picasso with Edouard Pignon (s.7689) by Andr Villers, Picasso en montera / Vallauris, 1955 (s.ta148) by Andr Villers, Autoportrait dans un miroir, Cannes, 1955 (s.7689) by Andr Villers, The artist George Braque in his studio (s.ta144) by Robert Doisneau (1912 - 1994).

Vollard championed some of the biggest names in art history.

15

IN THE FRAME Pablo Picasso: Light of Paris

From top left: Carmen-Castanets (s.7688) by Salvador Dali (1904 - 1989), Henri Matisse Sketching (s.ta188) by Brassai (Gyula Halasz) (1899 - 1984), Salvador Dali au Ritz a Paris - 1966 (s.7469) by Andr Villers, The artist in his studio (s.7689) Alberto Giacometti (1901 - 1966) by Robert Doisneau (1912 1994), Elements Mechaniques (s.ta132) by after Fernand Leger (1881 - 1955), LEnfant au biscuit (s.ta176) by Piere Auguste Renoir (1841 - 1919), Fernand Leger in his atelier of Gif-sur-Yvette, 1954 (s. 7689) by Robert Doisneau (1912 - 1994) and Portrait of Mr B Cymermann (s.7689) by Pablo Picasso (1881 - 1973).

16 TPAG | Jan 201 2

The exhibition is a display of talent from the School of Paris and includes work by Henri Matisse, Paul Caesar Helleu, George Braque, Jean Cocteau and Raoul Dufy.

well-researched, in good condition and professionally catalogued. Works by the French master Marc Chagall that have featured in major exhibitions over the years are included in the collection. Three of the drawings came from the collection of his son David McNiel and include an early classical nude, a picture of the bridge where the artist proposed to his wife, and a watercolour of a nude woman carrying flowers against a dark background a common aspect of Chagalls pictures. The exhibition also includes work by Spanish surrealist Salvador Dali. There is one drawing, a bronze sculpture and a group of six etchings, in their portfolio of issue, from the Conquest of the Cosmos suite. Each is signed in pencil by the artist and numbered XL/CLXXXXV. Dalis works are humorously lyrical works of surrealism. The exhibition is a display of talent from the School of Paris and includes work by Henri Matisse, Paul Caesar Helleu, George

Braque, Jean Cocteau and Raoul Dufy. It also features a lithograph and an etching by the Impressionist artist Pierre Auguste Renoir, although he was not part of the School of Paris. At the time these were made, it was uncommon for artists to sign their works. These two pieces are very typical of the artists oeuvre and include a nude figure of a young bather showing an innocent and charming young girl. Renoirs portrait of his young son eating a biscuit is an early example of colour lithography. The photography in the collection exhibits photos of famous artists, taken by some of the greatest names in photography from that period. In the collection, there are three beautiful examples of work by Brassai, one of the greatest photographers of our age. One of the best examples is of his great friend and confidant, Pablo Picasso. It was the photo Brassai took when they first met. A later portrait of an older Picasso and Brassai was made for Picasso &

17

IN THE FRAME Pablo Picasso: Light of Paris

Facing portrait of a woman (s.6651) by Paul Caesar Helleu (1859 - 1927)

Woman facing towards the right (s.6686) by Paul Caesar Helleu (1859 - 1927)

Pablo Picasso and the School of Paris, on display from January 12 to February 20, 2012. Exhibition Venue: Art Trove, 51, Waterloo Street, #02-01, Singapore 187969 Tel: +65 63360915 Fax: +65 63367795 Email: enquiry@art-trove.com

Co, a book which Brassai wrote. There are a number of works by the noted photographer Robert Doisneau, including his iconic portraits of Fernand Leger and Alberto Giacometti. The largest selection, however, is by the famous Andre Villers, whose works are featured in the Photograph Museum recently opened in Mouguins in the South of France. Picasso features heavily in Villiers works but his best may be the portrait of Salvador Dali
18 TPAG | Jan 201 2

taken at the Ritz Hotel in 1966. Another portrait of Dali, by Phillippe Halsman, shows a maniacal face staring into the distance. Art Trove is a private museum. Its exhibition Pablo Picasso and the School of Paris is on display from January 12 to February 20. The School of Paris was a group of French artists who flourished in the era between the two world wars with Picasso playing a pivotal role. The show consists of two categories: art works and photographs.

Le Nu Couronne (The crowned nude) (s.6539) by Marc Chagall (1887-1985)

Le Moulin de la Galette (s.7119) by Maurice Utrillo (1885 - 1955)

Jacobs Blessing (s.7704) by Marc Chagall (1887-1985) Personage Fantastique (s.7324) by Jean Cocteau (1889 - 1963)

Odyssey II . Ulysses and Euryclea (s.7705) by Marc Chagall (1887-1985)

Portrait de Famille Ingresque. IV (s.7417) by Pablo Picasso (1881 - 1973)

Verre et Compotier (s.7596) by After Pablo Picasso (1881 - 1973)

19

FEATURE

Spray-painting the Little Red Dot

Text by Gladys Teo

20 TPAG | Jan 201 2

ff The Wall, an urban art extravaganza in the city of Singapore where spray-painting the carriage of a subway train can render you a jail term and strokes of the cane, was a significant landmark collaboration in 2011 between Paris street art gallery WallWorks, Singapore art agency Fortune Cookie Projects and the French Embassy. The special exhibition featured contemporary urban artists from Singapore: Antz, Asno, Clogtwo!, TraseOne, Jaba, Mimer, Myow, Scope, Slacsatu, Zero, The Killer Gerbil; and France: Alex, Ceet, Colorz, Fenx, Gilbert, Kongo, Lazoo, Sonic, Tilt. There were two parts to the exhibition: the static display showcased prints and artworks individually produced by urban artists from France and Singapore. At the opening reception, audiences were additionally treated to a live graffiti jam, where both French and Singaporean artists collaborated to create a large mural to the syncopation of music beats, camera flashes, and a large wideeyed audience comprising of both

kids and adults, locals and expats. The response was great, people didnt want to leave and there wasnt enough space to fit everyone! exclaims Howard Rutkowski, the man behind Fortune Cookie Projects. Also overheard at the graffiti jam was a bespectacled Singaporean man in his late 30s chatting with his partner, Wah, Singapore should have more of this stuff, art is nice and this is cool. However, just a few months ago, a Swiss national was fined and caned for spraying letters on the exterior of a subway train; before that a publicity stunt by the postal service involving a masked man spray-painting six mailboxes backfired when scandalised Singaporeans called the police.
THE PRICE OF FREEDOM

This fluid attitude towards graffiti art has provoked reactions about the vague distinctions between the art form and vandalism, as well as the binary oppositions of legality and illegality. Not just in Singapore, the contemporary art world contin21

Photos: Fortune Cookie Projects

FEATURE Spray-painting the Little Red Dot

I believe that you need to be whole, not only a portion of it, if you only paint murals, then I trust that youre a muralist not a graffiti writer. said Clogtwo!
ues to negotiate discourses relating to definitions of graffiti, street art, vandalism, and tagging. Internationally acclaimed Banksy continues to fiercely guard his identity to avoid prosecution, yet his works are hot property fetching massive value in the art market. Shepard Fairey was on his way to the opening of a massive retrospective of his work in Boston last year when he was arrested by the police on outstanding graffiti charges. As a result, many international street artists eschew labeling of themselves as graffiti artists due to negative connotations and misunderstandings about artistic practice. In Singapore, graffiti was used by the communist party to convey anti-government rhetoric in the past, which in turn resulted in the conflation of definitions in which graffiti is indelibly equated to vandalism through the introduction of The Punishment for Vandalism Bill in 1966. Until today, local artists tread their practice with caution. Clogtwo! explains, I dont label myself as a graffiti writer A graffiti writer not only does murals. He or she needs to practice many aspects of graffiti culture like tagging, throw-ups, and
22 TPAG | Jan 201 2

bombing. To be a graffiti writer, I believe that you need to be whole, not only a portion of it, if you only paint murals, then I trust that youre a muralist not a writer. But the society seems to label anyone with a spray can as graffiti writer or a street artist, which are two different subjects in reality. Yet the subversive art form is gaining legitimacy in the art world and galleries are well aware of the collectable nature of graffiti art and how it has, as Rutkowski explains, over the past 40 years become an integrated part of the contemporary art scene internationally, These are talented artists who have their own way of communicating. They are not just a bunch of kids spraying. Is it the idea of aerosol paints as medium of communication that legitimizes graffiti art, just like how acrylic, oil, pastel are valid, legal mediums of expression? Or is institutional space such as galleries and museums that validates graffiti as an artistic endeavour from an antisocial, freewayward form of anti-establishment behaviour? It could also be commoditization that puts a price tag on works that are inside the gallery versus those on the street that

23

FEATURE Spray-painting the Little Red Dot

In Singapore, the distinction between art and vandalism seems to be relatively clear cut.
are apparently without value. But these barriers are constantly re-drawn and are confusing. Banskys image on a wall between two rubbish bins in Londons Portobello Road sold on eBay in 2008 for more than 208,000, and a prerequisite for the new owner taking the purchase home was to pay for a replacement wall. In parts of Melbourne, great lengths have been taken to preserve his rat images on laneways, the city council putting protective plastic sheets over the spray-painted images to preserve and protect them from weather elements. Feted artist or street hoodlum, it appears that both identities can be embraced simultaneously.
NO SPACE, LAH!

In Singapore, the distinction between art and vandalism seems to be relatively clear cut. Is the canvas on private or public property? If the latter holds true, then permission to spray must be endorsed from the authorities, else it will be deemed as illegal vandalism. Commissioned private canvases sit fine with both artists and audiences alike, and have been an important avenue for local urban artists to showcase their works. For instance, retail spaces such as shopping malls, shops, restaurants, bars and cafes are increasingly commissioning street
24 TPAG | Jan 201 2

artists to create large murals for their interior and exterior facades. Highend luxury brand Hermes Singapore recently invited French artist Kongo to splash neon graffiti over a large mural shielding the boutique as part of their marketing campaign, the entire PR blitz was (in)aptly named artistic vandalization. No special permission was needed for the live graffiti jam at Off The Wall since the canvas was a mural within a private gallery space commissioned by private companies. Public canvases, however, are much more problematic especially when there doesnt seem to be a clear line between what is private and what is public. The incident whereby SingPost spray-painted the mailboxes, for example. Are the mailboxes private or public property? What about the subway train? Public transport indeed, but owned by a privatized corporation, does that count as public or private? What about the walls of Haji Lane which are covered with sprawls of tagging, stencils and stickers? Are

these spaces considered as part of the shop fronts, hence private, or are they part of public laneways, hence government-owned? One of the few governmentsanctioned areas in Singapore is *Scape, a youth park in the Orchard Road shopping district where graffiti art now adorns every inch of the walls. Every week, local graffiti artists spray over one anothers works due to the limited space. Yet, two years ago, a group of artists found themselves barred from practising there when they sprayed messages in support of the children victimised by the Palestine-Israel conflict. Following that incident, the artistic content of anyone intending to paint on the walls had to be screened and endorsed before actual execution. Clogtwo! bemoans the lack of legal space and support for graffiti artists in Singapore who usually have to savage for projects to get the opportunity to spray, or just travel abroad on their own expenses to paint on abundant, huge walls. He explains how a handful of the local artists have since decided to rent out a space in Sultans Gate, Bugis, where they can gather to brainstorm on murals, projects and contempo-

rary art pieces for exhibitions. The collaborative, called Blackbook, also sees the artists erecting their own D.I.Y boards so that they can practice and showcase their skills without anyone breathing down their necks. This private space also allows visits by international artists to have friendly jam sessions and leave their marks in Singapore without having to go through the hassle of getting permission. While graffiti art has become an integral part of the urban landscape in many cities, it continues to tread the line between art form and vandalism despite its growing popularity, especially in Singapore. Events such as Off The Wall are important pedagogical tools for defining the legitimacy and legality of graffiti art. They are at the same time precious ways of showcasing local talent in a space-deprived city. Off the Wall Down by Law in Singapore, Lah! ran from 19 26 November at ArtSpace @ Helutrans, as part of the Voilah! French Festival Singapore 2011, the 4th installment of a cultural exchange between France and Singapore.
25

ART LANDS

M YA N M A R

Emily Phyo recreates the Burmese flag in her performance

26 TPAG | Jan 201 2

Beyond Pressure,
Fes tiv a l o f Pe r fo r m a n c e a rt , My an m ar 201 1
MYANMARS PREMIER INTERNATIONAL PERFORMANCE ART FESTIVAL, BEYOND PRESSURE, HAS HELPED LIFT THE PROFILE OF THE NATION AS AN ARTS HUB BY ATTRACTING INTERNATIONAL TALENT. IN ITS FOURTH INSTALLMENT, ARTISTS FORMED BONDS AS THEY RECREATED LIFE THROUGH THE PERFORMANCES.
Text and photos: Daniela Beltrani

he night envelops a barefooted, young woman and the audience surrounding her on a rectangular patch of grass, where she begins to perform. The woman dons a traditional Burmese silk outfit, with a fitted terracotta-red-coloured top and a long dark blue sarong. Her face is covered by a white mask and the anonymity contrasts starkly with her reassuringly familiar garb. From a blue bag, she takes out some objects and places them on the grass by her side: a water bottle, a white disposable food container, a white candle and a wooden ladle with a long handle. In front of her she lays out stacks and stacks of womens cotton underwear in a sequence of colours: yellow at the top, green in the middle, and red at the bottom, which form the new flag of the Republic of the Union of Myanmar, minus the star.
THE MASK AND THE FLAG

The woman then puts a flower

in her hair and proceeds to walk slowly along the perimeter of the grass field, carrying the candle and looking at the audience through the mask. She is not Emily Phyo. She is the Burmese Everywoman and she invites the audience to acknowledge her quiet and calm presence. The Burmese woman fixes the candle on top of the food container and, after lying down on her right side for a short while she takes the mask off and places it in the middle of the green line of underwear where the star of the Burmese flag would once be. She empties the bottle of water into the ladle and drinks from it. She then replaces the mask with white pairs of underwear, picks up the candle and lies down again alongside the bottom of the flag, face up and holding the candle with both hands. She resembles a dead body during a wake. She is calm, her breathing is so shallow that her chest hardly moves. She rests there for some time
27

ART LANDS Myanmar

The original location for the performances was not approved by the censorship authorities.

and the performance ends this way when she finally gets up and thanks the audience with a bow.
RECAPTURING THE MOMENT

THEATRE OF FRIENDS

Another significant performance is Dutch artist Jacques Van Poppels remembrance of the recently departed Norbert Klassen, founding member of the collective Black Market International. Against the backdrop of carefully selected songs and images, Jacques realistically and convincingly relives, through for example smoking two cigarettes alternately and holding two cups and saucers until they rattle and fall, memories of his friendship with Norbert. The intensity with which Jacques lived out the actions was evident in his face, which at times became wet with tears and was shared by some members of the audience, who also knew Norbert. Emily Phyo and Jacques van Poppel were only two of the artists performing at Sein Lan So Pyay Garden near the Inya Lake in Yangon on the evening of 4 December, as part of the 4th Beyond Pressure festival of performance art organised by Burmese artist Moe Satt between 1 and 10 December 2011.

The original location for the performances was not approved by the censorship authorities, allegedly because of a clash with security measures put in place for the visit of US Secretary of State Hillary Clinton. But Moe Satt was able to find an apt replacement swiftly. Besides offering a line-up of international artists alongside Burmese ones, this edition is special not only because it travelled from Yangon to Mandalay and extended to a full ten days of performances, workshops and symposia, but it also because it occurred at a time when Aung San Suu Kyi received Hillary Clinton. Yet, there was more than the creating or discussing of art: the artists shared meals together under stunning sunsets and shopped inside temples, interacting with the friendly Burmese throughout. It was a way of forming bonds that can help pave the way for future events where people share cultures and personal experiences. Thanks should go to the international foundations that allowed this event to take place with their financial contributions.

28 TPAG | Jan 201 2

Jacques van Poppel remembers his friend with a memorable performance.

Artists and members of the audience after the performances at the Dantaryi Restaurant, Mandalay.

29

GLIMPSE

Graffiti on the Map

Text: Remo Notarianni

Sonic Boom:

30 TPAG | Jan 201 2

o those at one end of the debate, graffiti art is a barometer of civic freedom and to those on the other, a sign of urban decay, but like any art form it stands the risk of being formulaic. Sonic Bad was a New York graffiti artist who was known for innovating the art back in the 1970s when graffiti seemed to be confined to tags and bubble letters. Sonic created folding letters by making them into characters and figures, and radically innovating on an already radical art form. In the early 1980s, he painted the infamous Revolution and World War III top to bottom on NYC subway trains. Sonic went on to be called a muralist more than a graffiti artist. Sonics work on subways trains and subway maps have become an endearing part of New Yorks heritage. Sonics New York City Graffiti Map Collection: These exclusive maps are not available to the public and can only be seen in the NYC subway stations. They have never been available for sale before. They are limited, made by one company exclusively for the NYC MTA (Metropolitan Transportation Authority). Sonic uses these 70s Subway Maps as canvas because they represents New York City and its Subway System, and have a powerful connection to the vibe of the New York City Graffiti Era, especially since graffiti can no longer be found on the subway stations or trains. On December 8, 2011 Sonic bads graffiti art was exhibited at French JCI HKs I love Hong Kong New York. An exclusive unique Art Exhibition & Fashion Show featuring Sonic Bads collection of paintings on original NYC subway stations maps. The collection is exhibited until February 14th, 2012 at Entourage (5 Elgin Street, Soho HK). The graffiti art paintings are 90cm x 77cm in size, and the frame is around 100cm x 87cm.
31
Photos: French JCI

PORTFOLIO: Frontiers

Painting a picture of the Chinese buyer

Text by Remo Notarianni

CHINAS ART MARKET HAS BECOME A BEACON OF HOPE IN THE FACE OF GLOBAL ECONOMIC TURMOIL. AS ART DEALERS RELISH THE OPPORTUNITIES, OPINIONS ARE DIVIDED ABOUT WHAT KIND OF WESTERN ART APPEALS TO ITS COLLECTORS.
32 TPAG | Jan 201 2

33

Photos: Kenta Torimoto

PORTFOLIO: Frontiers

Temple by Hiroshi Takeda, one of the artists represented in China by Kenta Torimoto

ith major works, such as Picassos Femme Lisant (Deux Personnages), being swept up by Chinese buyers it is evident that there is an eastward shift in the art market. Despite reports that the autumn 2011 Christies auction signalled a slowing of the market, Chinas nouveau riche are buying beyond luxury goods and the nations collector clout is noticeable at auctions; but as with any new market, uncertainty clouds the optimism and gallerists are yet to gauge its consumer tastes. I think it is really difficult for gallerists from overseas to start an art business in China, said Japanese art promoter Kenta Torimoto, owner
34 TPAG | Jan 201 2

of the Shanghai-based Office 339. The Chinese themselves are not so interested in overseas artists and there is a great deal of risk and experimentation for foreign gallerists at the moment. Torimoto first visited Shanghai in 2005 as a tourist. He quickly became enamoured by the citys art space at M50 (Moganshan Rd. No.50) and returned to work in a gallery and print workshop that represented mainland sensation Zeng Fanzhi. He set up his own art management office in the city in 2006, but his gallery as it introduces new artists to Shanghai, also aims to positively shape the citys art scene. Torimoto believes gallerists

from overseas have a pioneering role to play in being educators as well promoters. Chinese buyers go for big names in terms of foreign artists because they have no confidence in other artists, said Mila Bollansee, gallery manager of the Beijingbased Pekin Fine Art. Such procrastination characterises consumers in a new market. Without comparing the Western galleries In China to department stores, established names offer the best touchstones for consumers, and give such works a mystique that compares them to brand name goods. Beijing and Shanghai have become significant on the basis of size and rapidity of growth but as most of the artwork being sold is still Chinese, they are yet to compare with hubs like New York and London in terms of diversity. Shanghai can do experimental work on a larger scale than anywhere else in the world, said Bollansee. Beijing and Shanghai are not as attractive as Berlin for foreign artists, but some of them, like the Belgian artist Wim Delvoye, come to China to execute large scale projects they could probably not do in Europe. Generational change will however make a difference when one considers the rapid development of the market, and the fact that

there was a minimal Chinese presence at auctions just a few years back. It has since grown into a force to be reckoned with on the international scene. Chinese buyers go for what they know, said French gallerist and art dealer Christian Ogier who has been representing Chinese artists in Europe. He has seen a growing interest in artists from Europe among mainland buyers. He stresses that there is still a minority of clients buying works by modern masters such as Picasso and Renoir, but recent interest in different names has indicated evolutionary signs in the market. Its a very small group of people, reveals Ogier. It seems that they have been looking at the market for some time and then entered it. A lot of it is investment, and it is hard to generalise but I would say that there is a pleasure involved. There are some new names being mentioned such as the Italian artist Giorgio Morendi, and if you look at mainland art collections you may be surprised what you see. Its a sign of greater knowledge about art. Whereas the interest in European and American art is still small in Ogiers experience, the changing tastes of Chinas consumer are the best barometer of changeand this comes with the internationalisation and world-class standards of its own artists.
35

PORTFOLIO: Business Models

Art and banking go to dinner

Text: Remo Notarianni

Sohan Qadri, *Vak II*, 2008, ink and dye on paper, 55 x 39 inches

n 2009, when Deutsche Bank picked up the mantle from Lehman Brothers to sponsor Art HK, one of the oddest couples in history- art and banking-entered the spotlight again. Auctioning off US$1.3 million of the fallen behemoths art collection, which included works by Roy Lichtenstein and Robert Indiana, could not prevent its demise. Oscar Wilde might have summed up this incongruous affair: When bankers get together for dinner, they discuss art, and when artists get to-

gether for dinner, they discuss money. Since then, however, financial bodies have become comparable to galleries in their own right. Perhaps it was American cultural philanthropist David Rockefeller who consummated this relationship, taking it beyond Medici-like patronage to infuse art into the DNA of the banking world. He implemented gallery standards for his Chase Manhattan Banks art collection which has since amassed 30,000 art pieces. The moral groundwork may have

36 TPAG | Jan 201 2

Anil Revri, Darwaza 5, 2010. Mixed media on canvas, 60 x 50.5 inches

37

PORTFOLIO: Business Models

been laid in fourteenth century Italy when bankers were urged to buy art for the decoration of churches to redeem sins of usury interest on loans was considered a sin. Art and materialism have long been distanced by debates of the soul but that hasnt stopped the world of finance from loving the arts. In the 1970s, Deutsche Bank started an initiative called Art in the Workplace with the intention of stimulating the intellect of its staff. The bank integrated art pieces into the architecture of the working environment, and made it part of the workers lives. In recent years, the banks lobby has become a showcase for the likes of Damien Hirst and Anish Kapoor, whose Silver Ball decorates a meeting point for the staff, and an expensive art collection embellishes its rooms and corridors. This has in some ways put the proverbial artists and bankers at the same table. By befriending art and paying for the tab, the world of banking might have more integrity but on the path to redemption, the two have found an interdependence that historically bonded them. In a business context, art offers business another kind of corporate social responsibility. Dutch bank ING has sponsored annual exhibitions in collaboration with Discerning Eye, a UK-based educational charity that supports aspiring artists. The exhibition puts work by new artists alongside established names. In such cases, art may have joined the goodwill bandwagon of the finance sector but its spiritually redeeming features have proved themselves in interest38 TPAG | Jan 201 2

From our experience, corporates tend to gravitate towards abstract art more than figurative, Aggarwal.
ing ways. Banks now go beyond presenting a collectors showcase and there are historical clues in the kind of art that financial organisations are choosing to communicate their image. From our experience, corporates tend to gravitate towards abstract art more than figurative, said Suman Aggarwal, Director of Singapores Indigo Blue Art. Some of our corporate clients, which include banks, enjoy the spiritual association with some of the abstract works. The viewer, in trying to appreciate the inner nature of the artist and the artwork, will inadvertently learn to delve deeper into their own consciousness and in doing so, learn more about themselves. In this sense, abstract art can be said to satisfy the soul. A popular example that Aggarwal cites is Indian abstract artist Sohan Qadri who resonates with the corporate world and has the ability to draw viewers into an ecstatic spiritual experience. When looking at the historical relationship between art and spirituality, it is almost as if this enduring act of penance is continuing to take place in banking. Indian artists may have the abstract spirituality that resonates with the market and the historical connection between art and the corporate world, especially as the world of banking aims to reach more people with a universal message. Banks and other corporate organizations have moved from purely investment-oriented artworks to us-

Sohan Qadri, *Ananda XI*, 2007, ink and dye on paper, 55 x 39 inches

ing art to enhance their standing as philanthropic organizations and also to humanise their corporate space, said Sundaram Tagore of Sundaram Tagore Galleries. Abstract art generally has a language that happens to be more accessible to a wide variety of people, especially for banks and other organizations. Contemporary Indian artworks by

Sohan Qadri, Anil Revri, or Sayed Haider Raza, have a great appeal to the international art circuit and particularly the banking and corporate world in Singapore. Their language and artistic sensibility are rooted in India; however, they make use of a strong contemporary artistic language that is understood by people all over the world.
39

Photos: Sundaram Tagore

PERSPECTIVES

Beyond the Chinese landscape

Text: Remo Notarianni

LICHTENSTEIN 1996, Landscape with Grass.

he sheer newness of Chinas artists in the 21st century may have created a big enough gulf with the past to relegate its traditional art to incense-filled nostalgia. Chinas art past has, however, continued to fascinate with a preoccupation that is eternally relevant the natural landscape. This will continue to be relevant as the nation modernises at its expense. The natural will continue have a lingering significance through its universality, as urbanisation looms large. With the same symbolic resonance of calligraphy, mountains, streams and trees can be visual touchstones, making artists such as Shen Zhou (14271509) Wen Zhengming (14701559) consistently relevant. Decades before Chinas rapid urbanisation, these Asian images contrasted touristically with the concrete cities of the developed world. And now as concretization eats into Chinas countryside, traditional depictions of the
40 TPAG | Jan 201 2

landscape are becoming environmental records. One day, when it is completely diminished, they could serve as one of its only memories. However, to understand the cathartic role this has played historically, one need to look back at the significance that the landscape was given when the lofty ideals of Chinas Tang dynasty were seen as flawed and failing. The painted landscape became a paragon of virtue, with a natural system that worked in ways that the human world could only aspire towards harmony. Human society however did not come close to it. Artists strove to bring it closer to their inner selves and further away from external depictions. During the Song Dynasty, they took this further into the human realm and the images were used as aspiring symbols of the human spirit instead of depictions of an external habitat, as if to draw the personality closer to

LICHTENSTEIN 1996, Flower with Bamboo.

the image of nature as a symbol of the refined human. Trees and rocks became embodiments. This intensified during the Yuan dynasty, when artistic scholars no longer had political roles. They looked inwards because they had no active place in society. So, it was perhaps during the Yuan dynasty that the Chinese mindscape became fully visible. As paintings no longer reflected external environments, but could include the inner expressiveness of the artist, this marked a kind of impressionistic period for the Chinese landscape painter. Artists and philosophers upheld natural scenes as a paragon of divine order, set against the fragile chaos of human society. Landscape painting embodied the human need to be absorbed in something that had trusted absolutes. In the Ming Dynasty, when Chinese rule re-

turned to the throne, the Chinese landscape had a renewed significance, perhaps as a nationalistic symbol. Antiquity can still serve as a window of spiritual reflection as urbanisation grows, but modernity will keep the Chinese landscape alive in the 21st century. American pop artist Roy Lichtensteins paintings Chinese Landscapes in a Scroll, painted in the 1990s created jarring reinterpretations of a foreign landscape, in humorous tones, but they also altered perceptions of it. Lichtensteins trademarked Ben-day dots were often used as a visual diatribe of American consumerism but when directed at the Chinese landscape, perhaps they only brought out American perceptions of the China, while emphasising the importance of the landscapes origins. Here and there, a Chinese fisherman can be seen in the paintings which, other than depicting a common historical scene, might also reflect American stereotypes of China. Chinese artist Wong Chung Yu has also recreated the Chinese landscape with classic paintings such as Riverside Scene at Ching Ming Festival rendered and even animated in digital with his Spiritual Water series. Rather than be perceived as avant garde reinterpretations, these images could be considered a continuation of the landscape tradition. It remains perceptually vibrant as it flows into the inner world of a changing China, where a new unchanging mindscape is being built that could one day make up for a lost one.
41

Photos: Gagosian

SPACE

I heard a fly buzz, installation by Adam Nankervis. Bereznitsky Gallery, Berlin

Vacant Spaces
Text by Remo Notarianni

NEW PERSPECTIVES ARE TAKING ART PRESENTATION BEYOND EXHIBITING AND SHOWCASING. AUSTRALIAN ARTIST ADAM NANKERVIS ORGANIC APPROACH TO CURATORSHIP IS HELPING ARTWORK FIND A VOICE OF ITS OWN.
42 TPAG | Jan 201 2

The Spire, installation

mpty white space is part of the visual language that a gallery uses to connect an art piece with its viewer. And while galleries usher people into the secret world of a creator, the desired offering is perhaps, like the quiet sanctity of an altarpiece or confessional, a kind of immersion. It is left to the viewer to find a context or background, through education and art appreciation, that helps him or her understand the piece further. Adam Nankervis Museum MAN makes the gallery space part of a broader narrative by connecting it with other art pieces, fitting artworks into the existing sto-

ries of objects with a history. He has taken it to different settings, transporting the museum to cities around the world. Museum MAN was a frame for intervention and remained as such in its various manifests from Berlin to Valparaiso, New York to Liverpool. I was willing to open the parameters of what was normally acceptable within the confines of a gallery, democratise the potential to exhibit, and experiment with that outcome, said Nankervis whose Museum MAN project was born out of a fateful flat move in Berlin in 1997. The previous tenant was a dead, ex-soldier who left behind
43

SPACE

Rather than attempt to revolutionise gallery spaces, Nankervis has drawn attention to the ubiquitous creativity of the worlds we interact with in our living histories.
a trail of artefacts and personal belongings in the flat. It became apparent that the intersecting bric-abrac of mementos was a record of a life, and a dialogue between objects and the living things that brought them together. His flat, soon became a place to showcase these relics as well as Nankervis own artwork. It doubled as a museum of his work along with the objects left behind by this unknown soldier, which included an old helmet and a Brandenburg flag. With his own work in the collection, along with donated artwork from other artists, the assemblage has become a cabinet of interweaving histories that presents the continuity between the life of the original tenant and those that have followed. The gallery space may conceptually depart from the contained absorption of the White Cube but where it doesnt make an object speak loudly on its own it allows collaboration. This saw established artists collaborating with lesser-known artists, musicians, performance artists and DJs, said Nankervis. It broke very early with conventions of a static gallery space, thankfully now seen practised in many places, even the established institutions and museums that have embraced the notion of crossing boundaries and finding the links and celebrating and giving a platform to the unconventional art movements taking place.
44 TPAG | Jan 201 2

Ferry on the Red River Styx, installation front gallery, Bereznitska + Partner Gallery, Kiev.

Rather than attempt to revolutionise gallery spaces, Nankervis has drawn attention to the ubiquitous creativity of the worlds we interact with in our living histories. The objects in these everyday spaces map out lives that can be read and with rich organic artistry that writes the narrative of our living spaces. Nankervis alludes to the Cabinets of Curiosities of the 17th century collections of seemingly unrelated objects put together incongruously by scholars and rich amateur collectors in their homes. He also recounts an epiphany of sorts at an early age. When I was a boy of around ten years old, I would visit my great grandfather who owned one of the largest tracts of land in Australia, reveals Nankervis. He was a man built on and of horizons and had moved to a Victorian house with a

The Spire, installation

Adam Nankervis

garden teeming with wild European and native flowers. In the back shed, he kept his work and gardening tools and scrap books. Crudely cut articles were collaged together with letters of prominent politicians and writers. They were an inspiration. In every little tobacco tin, Sailors Players Plain wooden boxes, little marmalade jars, within one and all were hidden photographs or collectors cards from the teens and 1920s. Girly cards with burlesque ostrich fans were lined and glued to the base of these tins, as much as an unknown soldier, a pearlescent photograph of sombre men and women were sandwiched in the little jars hidden by a cacophony of tacks outside. I would spill them onto his workbench and stand them framed as he had must have done for himself. This private pleasure. This hidden gallery. A secret life lived by him of unknown people. The unknown and exotic places they inhabited. Nankervis latest project another vacant space uses the same curatorial language. Conceptually though it implies the idea of emptiness the other, another, and the silent, timecompressed touchstones of information world we live in. The selected artwork is preoccupied with the

lost, unseen or newly discovered. Another vacant space resurrects an old project. In the next exhibition, planned for 2012, artists Ivor Stodolsky and Marita Muukkonen present the Leningrad Conceptual Archives (from the time of the artistic underground ferment in the arts during Russias Perostoika) that lay undiscovered for many years until Stodolsky discovered the minutes and documentation in an artists cupboard. another vacant space was first discovered and opened in New York City in 1992. It could be viewed as Museum MAN in a commercial space. Nankervis took over a small shop that had gone bankrupt during a recession and in the labyrinth of vacancies, galleries, and establishments, the streets at the time became glass passages of empty and swiftly abandoned spaces, embraced by artistic nature that abhors a vacuum. The luxury, and sometimes necessity of running my own space allows for an organic growth in that I am not inhibited by time and have at most times invited the artists to stay, or at least work within the spaces site specifically as I see this as an important informant to the results of the exhibition. The site specificity creates a fascinating dialogue.

Arrow, Impromptu for the London Biennale (2010)

45

Photos: Adam Nankervis

Deborah Wargon

PICASSO & THE SCHOOL OF PARIS

Drawings, Lithographs, Etchings & Photographs of Artists

Pablo Picasso (1881 - 1972) photograph by Brassai (Gyula Halasz).

Brassai holding his camera, s.7610 (Gyula Halasz), 1899 - 1984.

B oa

Co llye Co rQ Co llyer uay llye Qu r Q ay uay Ful lert Ful on Fullerton Rd lert Rd on Rd

w Br id Ne ge Ne w Rd w Br Br id id ge ge R Rdd

Tanjong Pagar, Chinatown & Raffles Place 7

y
y u aa y Q u ttQ oaa BB o

Hong Lim Park

t Q ua

Singapore Art Museum Area

1 2 3 4 5 6 7 8 9
Mount Emily Park
Mount Emily Mount Emily Park Park

Ne

Hong Lim Hong Lim Park Park

nk

11

The Substation Art Plural Gallery Art Trove Yavuz Fine Art The Private Museum M Gallery Forest Rain Gallery The Gallery of Gnani Arts Sculpture Square

Chinatown

Mo

sq

ue

MM Chinatown o s Chinatown o s q q u ue e S St t 33

St

So uth Br idg So So eR uth uth d Br Brid idge ge R Rd d

Na in

77

St

N N aa nn k ki in n

6
S S tt

Raffles Place

6
Cr
Bo on Ta t

Raffles Place Raffles Place

St

tS t

5
e 5 5N

Am Am o yo y S

d il R
Tan jon g Pag ar Rd

Bo Bo on o n Ta Ta t S t St t

St

Ra ff l e R sQ R a a ff l ua ff l e e s y s QQu ua ay y

22

os

sS

10 Art Galleries @ NAFA 11 The Luxe Art Museum 12 Yisulang Art Gallery

oy

t C Cr o s ross s St St

PrSt in s

se p St Belen St nc nc oo oo le n le St n St

A ye r S t

bin so nR R ton oRo bi d Sh Sh Wanbins era era yson on ton ton RdRd WaWa y y

Te lo k

A ye r S lo k A ye

Duxt on Hill Duxt on Hill

Selegie Rd

t r St

4 5 6 7 8 9

Indigo Blue Art Cham Hampe Galleries @ Tanjong Pagar DreamSpace Art Studio Art Commune Gallery Galerie Belvedere Galerie Steph

Te lo k Te

9 13 10 11 12 9 10 9 10 11 12 11 12

Be

Telok Ayer Park

Sh

era

Telok Ayer Park Telok Ayer Park

8 8

nc

Tanjong Pagar

10 Ikkan Art International 11 ReDot Fine Art Gallery 12 Valentine Willie Fine Art 13 Richard Koh Fine Art

Tanjong Pagar

Tanjong Pagar

Pnse rin p seSt in p se St Be p nc St Be oo nc len Be oo S nc le t oo n le St n St

0
10

l S H ilding t ill St No rth Br idg No eR rth N d ort Br h idg B ri e Rdg St eR An d dre d ws St Rd An St dre An ws drew Rd s R d

ing

Co

lem

Bu

Bu MlI id Ci A n gB

Hil

de D r Es lana plan ade de D Dr r

Hil

lana

CA

ct

Esp

rth

Esp

nS

Bayfront Ave Bayfront Ave Bayfront Ave East Coast Pkwy East Coast Pkwy East Coast Pkwy

Concert Hall

Victoria Concert Hall

1 2

2 1

lert on Rd lert Fulle on Rd rton R d

1 2 3 4 5 6 7 8

Ode To Art 4

Opera Gallery

Cape Of Good Hope Art Gallery

Art Science Museum

10 Art-2 Gallery 11 S.Bin Art Plus 12 Y2Arts 13 Gajah Gallery 14 Tembusu Art Gallery 15 ArtXchange Gallery 16 Artfolio

The Asian Civilisation Museum The Arts House Gallery NaWei Ode To Art

Marina Bay Sands

Marina Bay Sands

GALLERY SPOTTED
Art Trove Gallery 51 Waterloo Street #02-01/2/3 Singapore 187969 T: +65 6336 0915 F: +65 6336 9975 E: enquiry@art-trove.com W: www.art-trove.com Opening Hours Wed- Sun: 11am to 6.30pm Call for private viewing

Qu

15
Boat

Victoria Concert Hall Victoria

Fort Canning Park

Sta

ee

nS

Qu

15

Qu

Park

ee

1315 14

mf t Soa rd mR for d Sta d Rd mf ord Rd

Esplanade

Raffles Ave

Fort Canning Canning Fort Park

nS

ee

Legend

Ful

1 2 2
2

Marina Bay Sands

Ful

MRT Station

Chan Hampe Galleries

No

rth

13 14 13 14 11 12

No

rth No

Esplanade

Br

Esplanade

RaRaffles Ave ffles Ave

National Museum of Singapore

id

ge

11 129 11 12 10

National Museum National Museum of Singapore of Singapore

id

id Br

Bras Basah

Rd

MI

Vi

Br

ge

9 10 9 10

or

ge

Rd

Raffles Blvd

Bras Bras Basah Basah

Br

as Bra Ba s B a s Bah R sah ra d R sB d as ah Rd

ia

Rd

Vi

MI

Vi

SAM@ 8Q

CA

ct

ct

St

or

or

6 6

lS

ild

Ra s Blv d Raffleffles Blvd

Millenia Tower

St

Singapore Art Museum

ia

ia

St

an

CC o l e ole m ma an n SL St City Hall t n Co lem C Co lem an olem St an an St St Co lem an St

Suntec City

Millenia Tower Millenia Tower

5 65 3 6 4

Singapore Singapore Art Museum SAM@ SAM@ Art Museum 8Q 8Q

5 6

Suntec City

Suntec City

Dhoby Ghaut

Pr

10

16 as B 8 Ba ras 8 Brsah Bas 16 as R ah 8 St Ba d Rd am St 7 for am 7 sah d fo Rd St Rd rd R am d 7 Co for Co lem dR lem an an Ln City Hall d Ln City Hall

Br

16

Esplanade & Marina Bay Sands

Dhoby Ghaut

3 43 4

W at

Pr

Orc hard har Rd d Orc Rd har dR

Dhoby Ghaut

Orc

Rd

12 11

W at

Arts Singapore School Of The Arts The Cathay Singapore School Of The Arts Singapore

W oo S at er t ue lo er o en lo St o St St Q ue Q ue en en St St

Ha ndy nd R y HaR d nd dy

Ha

12 11 The Cathay

12 11 The Cathay

10
School Of The

10

idd

9 10

8 le M Rd 9R id d d le Rd 9

idd

le

er

Be

phWR ie iailRd die k Rd Soph ia Rd Soph ia Rd

Ro

oo

Pr

Galerie Sogan & Art

Pr

Wil So k

in

Tan jong Pag ar Rd Tan jong Pag ar Rd

in

Utterly Art

Wilk

se

Duxt on Hill

Selegie Rd Selegie Rd

N 4

d il R NeRd eil

iPreciation, The Fullerton Hotel

ep

ie R d

Lasalle College of Lasalle the ArtsCollege of the Arts

Lasalle College of the Arts

R
St
R oc ho

Am

oc
R

ho

rR

oc

rR

ho

d
d

rR

M ax we

d ll R Rd we ell ax d w M Rax llM

R do r d rd df fo tam R r am Sd St mfo a
Rd

St

Boat Quay

Quay

Boat

Quay

Holland Village
L Le ee ed do Le on n Le edo ed n on

Dempsey Hill
Co Co mwall m G Co wall G arde m Co wall arde ns mw Ga ns r all Ga dens rde ns

Tanglin Road

Demp sey Rd Demp Demsey Rd psey R d Demp sey Rd

Rd d d nd Rd R R a lla nld llnd d ag a an ga a h S aga aSag HoolHo o laH l S era h Sah ah r r H M

Co Cold ld St Sto Co orag rage Cold St e ld ora Sto ge o ll H an rH o ll a n d d Av e ag Av e e

Pe

irc

Holland Holland Ave Av e

ae e lan Mer M M n Ja n alaalan la J J Ja

Ho H H Hloan lloll l o llad anand Rd nd d R R Rd d d

Rd d Rd R ece rce r irci i ePe Pe P

e

Rd

Ho H H lHool ol lan l l lldaRand annd dRd d d RR d

Na

ss NN Na imass ss a m Rdisimim Rd Rd Rd

Tama n Ta TaW ma m na n Wa Tama arnWarn rn a a n Wa rna

Ja

1 11 1 2 22 2

1
De d yR Rd d se d R ey ey s mp psypR emse p em D D m De

11 1
d g R Rd d din inging R d d Rd Har Har ing d Har

d glingRn n R TanTaTangliRd d n gli n R d li TanTanglin

4 4 3 3 34 4 3 Mall 2 2 2 Tang Mall Tanglin lin Mall Tanglin Mall 1 Rege1 2 1 Rege nt nt Rege nt 1 Rege Hotel
Hote Hotelnt l Hotel
Tom

Rd d d d lin in lRRR n ng nglnlgni i Ta Ta Tng a Ta 6 6 5 5 8 66 8 5 8 7 57 7 8 d 7

Cu sc

Or O O chO rc r h acrd aha r chr r a R Rdrdd R d Rd dd

R d Rd en n Rn d ad d de e e R ca aca n usCus d c C us C

Rd on Rd n lins noRd io Tom lmlsns o n d mi ToT on R lins

Har

Grange Rd Gr an ge Rd Grange Rd Grange Rd

is an s M ni m Ma is ita H m is an n ita an M la H M m Ja lan am ita J a H i tn H n la la Ja

1 2 Sunjin Galleries Taksu 1 2 Linda Gallery Red Sea Gallery

22 2

1 2 3 4 5 6 7 8

The Gallery of Gnani Arts GJ Asian Art Bruno Gallery Boons Pottery HaKaren Art Gallery ZiJuan Art Gallery Mulan Gallery Yang Gallery

Lo

Rd en Rd d ew n R e Lo ewe wd n Lo LoeR en ew

3
sim Nas Nas s Rd im sim R Rd d Nas sim Rd

s Cu

ca

Ang ullia Ang Par ull k Ania P gu a Ang lliark ullia Park Par k

Pa te tPa rson ers os Patern R Rd ter ond son Rd Rd

1 2 3 4 5 6 7 8

Pop and Contemporary Fine Art Gallery Reis Art Space @ Scotts Opera Gallery Heng Artland Sin Hua Gallery M.A.D Museum of Art & Design Vue Prive

5 5 6 Paragon Paragon ShopParagon 5 ping Shop Shop ping Centre ping Paragon Cent Centre re Shopping
Centre

Bid ef BidBid ord R efoefo d Bidr r dR efo d R rd d d Rd

vd Bl lBdvd vl B rd ral r d ha aBdvd rc crd h hc O O Orar ch Or

4 ION Orchard ION ION Orchard 4 Mall Orchard Mall Mall ION Orchard Mall

Mo un tE Mo M liz ab un oun eth Mo t E tE uln a liz iz t E ab ble e iza th th be th

Tangs Tang PlazTangs s a Plaz Plaz Tangs a a Plaza

Nu

tm Nu Nu eg tm tm Nu R eg eg tmd R Rd eg d Rd

6 6

8 8 8

Pa

rc O Or h rc c Oa r d h a h a rc B rd rd ha lv B B rd d lv lvd Bl d vd

R O ard rd R Mandarin 7 Man R d Man darin r c Orchard darin 7 7 h a rd d Orch Orch Singaporeardard Rd Mandarin Singapor Singapore7 e Orchard Singapore

Or

cOaOrc h rc h rd a h

xpy Central E Ey tralxpxpy Cen Central E Expy Central

Cu

d dRd nR nR ed en ad ad c R sen c uCus Cd a sc de

Shaw Shaw Shaw Centre Cent Cent Shaw re re Centre

Sc ott ScS sR octo d t ScsttRd otts Rd sR d

Rd d d lin i d R R l ng gRnlin Ta ain ng n glTa nT Ta

Or O ch r r O 1 21 Or archcRrard d h 1 22 cha a d R R d Pala 1 is2 is Pala d RenaissanPalais rd d ce Rd Rena Renais issance Pala issance
Renaissance

Cla ym ore Cla Hill y Cm o r lay e moHil Cla ym re lHil ore l Hill

Nas

33 3

Orchard Road

ircle le hill C l Circircle CairnCairnhill C cle hil Cairn hill Cir Cairn

Cairnhill C airn Rd C ai rn hi llhi ll R d Rd Cairnhill R d

Henri Matisse

Pablo Picasso

Fernand Leger

Alberto Giacometti

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 or fax: +65 6336 9975 email: enquiry@art-trove.com | website: ww.art-trove.com

art directories
52 Singapore Galleries 53 Art Auctioneers 54 Museums / Art Services 54 Conservation/ Restoration 54/55 Art Schools / Artist Studios 56 Hong Kong Galleries 56 Other International Galleries 56 Art Fairs 58 TPAG Art Tours HK 60 TPAG Classifieds

Singapore Galleries
Art Trove 51 Waterloo Street, #02-01, Singapore 187969 v +65 6336 0915 Y enquiry@art-trove.com www.art-trove.com
Wed - Sun: 11am-6.30pm

Bruno Gallery 91 Tanglin Road, #01-03 Tanglin Place, Singapore 247918 v +65 6733 0283 Y singapore@brunoartgroup.com www.brunoartgroup.com
Weekdays: Tue - Fri: 10am-7pm Weekend: Sat & Sun 11am-8pm Closed on Monday

Forest Rain Gallery 261 Waterloo Street, #02-43/44, Singapore 180261 v +65 6336 0926 Y info@forestraingallery.com www.forestraingallery.com
Tue - Fri: 11am-7pm; Sat - Sun: 11am-5pm.

ARTXCHANGE Gallery 6 Eu Tong Sen Street, #02-65, The Central, Singapore 059817 v +65 9027 3997 Y benny. oentoro@live. com www.artxchangegallery.com
Mon - Sat: 11am-9pm

Cape of Good Hope Art Gallery 140 Hill Street, #01-06, MICA Building, Singapore 179369 v +65 6733 3822 Y capeofgood hope@pacific.net.sg www.capeofgoodhope.com.sg
Daily: 11am-7pm

The Gallery of Gnani Arts 1 Cuscaden Road, #01-05, The Regent, Singapore 249715 v +65 6725 3112 Y arts@ gnaniarts.com www.gnaniarts.com
Tue - Sun: 11am-7pm

Boons Pottery 91 Tanglin Road, #01-02A, Tanglin Place, Singapore 247918 v +65 6836 3978 www.boonspottery.com

Chan Hampe Galleries @ Raffles Hotel 328 North Bridge Road, #01-04, Raffles Hotel Arcade, Singapore 188719 v +65 6338 1962 www.chanhampegalleries.com
Daily: 11am-7pm. Closed on Public Holidays

Indigo Blue Art 33 Neil Road, Singapore 088820 v +65 6372 1719/38 Y info@indigoblueart.com www.indigoblueart.com
Mon - Sat: 11am-6pm

Daily: 11am-6pm. Closed on Public Holidays

Chan Hampe Galleries @ Tanjong Pagar 27 Kreta Ayer Road, Singapore 088994 v +65 6222 1667 www.chanhampegalleries.com

Weekdays: 10am-6pm. Weekends: 11am-4pm. Closed Wednesday and Public Holidays

52 TPAG | Jan 201 2

Ken Crystals 6 Eu Tong Sen Street, #03-72, The Central, Singapore 059817 v +65 6339 0008 Y kencrystals@yahoo.com.sg
Mon - Sat: 11am-7pm; Sun: 1pm-5pm.

Muse The Art Gallery 4 Toh Tuck Links, Unit 01 01 Singapore 596226 v +65 6762 6617 Y enquiries@

musetheartgallery.com Mon - Fri: 8.30am-5.30pm

ZiJuan Art Gallery 19 Tanglin Road, #0207 Tanglin Shopping Centre, Singapore 247909 v +65 6733 0289 HP: +65 8160 0058 Y zijuanart@ hotmail.com www.zijuanyy. com
Mon - Sat: 11am6.30pm Closed on Sunday

Utterly Art 229A South Bridge Road, Singapore 058778 v +65 6226 2605 Y utterlyart@ pacific.net.sg
Mon - Sat: 11.30am-8pm; Sun: 12noon-5.30pm

OVAS Art Gallery 9 Penang Road, #02-21 Park Mall, Singapore 238459 v +65 6337 3932 www.ovas-home. com
Daily: 11.30am8.30pm

Richard Koh Fine Art 71 Duxton Road, Singapore 089530 v +65 6221 1209 Y info@rkfineart.com www.rkfineart. com

Sunjin Galleries 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 v +65 6738 2317 Y info@ sunjingalleries. com.sg www.sunjingalleries.com.sg

Yisulang Art Gallery 6 Handy Road, #01-01, The Luxe, Singapore 229234 v +65 6337 6810 Y mktg@ yisulang.com http://yisulang.com
Tue - Sun: 11am-7pm

Tue - Fri: 11am-7pm; Sat: 11am6pm Established in 2000, Sunjin has built a strong reputation representing some of the leading and most sought after artist in the region. The Gallery has also actively identified and promoted new talents, introducing new and exciting names for the art buying public to invest in. Recently, at the 11th Beijing International Art Exhibition in 2008, the gallery was awarded by the Ministry of Culture PRC a certificate recognising the gallery as one of the Top 10th most influential galleries of 2008.

Art Auctioneers
Christies Hong Kong Limited 22/F, Alexandra House, 18 Chater Road, Central, Hong Kong Sothebys Singapore Pte Ltd 1 Cuscaden Road Regent Hotel Singapore, Singapore 249715 Larasati 30 Bideford Road #03-02, Thong Sia Building, Singapore 229922

Tues - Fri: 11.30am-7pm, Sat: 12noon 6pm Mon by appointment only. Closed on Public Holidays

Galerie Sogan & Art 33B Mosque Street, Singapore 059511 v +65 6225 7686 Y vera@ soganart.com www.soganart. com

Mon - Sat: 12noon-7.30pm; Sun: 2pm-5pm

53

art directories Museums

The Luxe Art Museum 6 Handy Road, #02-01, The Luxe, Singapore 229234 v +65 6338 2234 Y enquiry@ thelam.sg www.thelam.sg
Tues - Sun: 11am-7pm

Conservation / Restoration

Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street National University of Singapore Museum (NUS) University Cultural Centre, 50 Kent Ridge Crescent, National University of Singapore, Singapore 119279

PIA Preserve in Aesthetics 63 HillView Avenue, #02-06B, Lam Soon Industrial Building, Singapore 669569 v +65 6760 2602 / +65 9118 7478 Y josephine@ thepiastudio.com www.thepiastudio.com
Specialised in Paper & Book Conservation. Art Preservation, Conservation and Restoration.

Art Services

Florenz 10 Changi South Street 1, Singapore 486788 v (65) 65464133 Y enquiry@florenz.com.sg www.florenz.com.sg
Mon-Thur 8.30am-5.45pm, Fri 8.30am-5.30pm, Sat 8.30am-12.30pm Closed on Sundays

Art Schools
LASALLE 1 McNally Street Nanyang Academy of Fine Arts 38/80/151 Bencoolen St The Singapore Tyler Print Institute 41 Robertson Quay

Introduction of Company: Florenz was first established in 1986 and was recently re-launched with a showcase exhibition featuring artworks by the current in house team and also past collaborators. Florenz specialises in glass art of all disciplines and processes ranging from traditional stained glass, blown work, kiln forming, sandcarving and engraving. Artworks may be purchased or commissioned for commercial and private settings. Florenz is also an active participant in the Singapore art scene, participating in events such as Art Singapore, Affordable Arts and FLasia.

54 TPAG | Jan 201 2

ma ARTS v +65 8611 5280 Y alfred@ maarts.com.sg

Artist Studios
Chieu Sheuy Fook Studio Studio 102, 91 Lorong J, Telok Kurau Road, Singapore 425985 v +65 9669 0589 Y chieusf@ gmail.com Koeh Sia Yong 10 Kampong Eunos, Singapore 417774 v +65 9671 2940 Y koehsy@ singnet.com.sg www.yessy.com/koehsiayong www.koehsiayong. artfederations.com Liu Xuanqi Art Studio Goodman Arts Centre, 90 Goodman Road, Block B #0408, Singapore 439053 v +65 9168 7785 Y hillad2006@ gmail.com
Opens daily 9am-6pm

Transportation & Installation of Art Works and other Art related services.

Jennifer Yao Lin Goodman Arts Centre 90 Goodman Road Block B, #0314, Singapore 439053 v +65 9151 3227 Y cice_lin@ yahoo.com
By appointment only

Rays Transport & Services v +65 9152 2511 Y artswithray@ gmail.com

Artwork Installation & Delivery Services.

Santa Fe Art Solutions v +65 6398 8518 M: 9758 8294 Y artsolutions@ santafe.com.sg

Specialized services exclusive to the Arts: Art Collection Management, Affordable Art Storage, Exhibition & Project Management and Art Movement & Installation.

Urich Lau Wai-Yuen Goodman Arts Centre 90 Goodman Road, Block B #04-07, Singapore 439053 v +65 9682 7214 Y urichlwy@gmail.com
By appointment only

55

art directories Hong Kong Galleries

Puerta Roja Private Latin Art Space Shop A,. G/F Wai Yue Building, 15 17 New Street, Sheung Wan, Hong Kong v +852 2803 0332 Y info@puerta-roja.com www.puerta-roja.com
By appointment

International
Flo Peters Gallery Chilehaus C, Pumpen 8, 20095 Hamburg, Germany v +49 40 3037 4686 Y info@ flopetersgallery. com www. flopetersgallery.com GALERIE CHRISTIAN LETHERT Antwerpener Strasse 4 D - 50672 Kln (Cologne) Germany Alan Cristea Gallery 31 & 34 Cork Street, London W1S 3NU White Cube 48 Hoxton Square, London N1 6PB L & M Arts 45 East 78 Street New York 10075

Art Fairs
Art Stage Singapore 12 15 January 2012 www.artstagesingapore.com Hong Kong International Art Fair (ART HK) 17 20 May 2012 www.hongkongartfair.com Asia Top Gallery Hotel Art Fair (AHAF HK) 24 26 February 2012 www.hotelartfair.kr China International Gallery Exposition (CIGE) April 2012 www.cige-bj.com Art Revolution Taipei 22 25 March 2012 www.arts.org.tw Art Dubai 21 24 March 2012 www.artdubai.ae

Belgravia Gallery 12/F Silver Fortune Plaza, 1 Wellington Street, Central, Hong Kong Karin Weber Gallery G/F, 20 Aberdeen Street Central, Hong Kong (Close to Hollywood Road) Koru Contemporary Art Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong

Get listed with TPAG. Gallery listing Package: SGD700 (per annum) inclusions of one image, address, contact details & operating hours and gallery description. Standard listing: SGD600 (per annum) inclusions of address, contact details and operating hours. Email us for sales form at sales@thepocketartsguide.com
56 TPAG | Jan 201 2

Published monthly, complimentary copies of TPAG are available at several places in Singapore, Hong Kong and the United Kingdom. SINGAPORE: Copies are distributed at the Singapore Art Museum (SAM), Singapore Tourism Boards Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Art Trove. Pop & Contemporary, Bruno Art and Indigo Blue Art) HONG KONG: TPAG is widely distributed in Hong Kong and has a presence in most galleries and art venues. It is distributed at the Bookshop (Hong Kong Arts Centre) and browsing copies are available at cafes such as Uncle Russ Coffee. Complimentary and browsing copies are also available at popular art venues such as the Fringe Club. TPAG has a presence at major art events in the territory. THE UNITED KINGDOM: TPAG is available at select cafes and art venues around the UK and complimentary copies can be found in major galleries, including the Alan Cristea Gallery, in London. For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.

DONT MISS OUT!

Get 12 Issues (1 Year) of THE POCKET ARTS GUIDE sent direct to your door every month. Subscribe today!

Yes! I want to subscribe...

LOCAL - 1YR (12 issues) SG$48 (incl. postage) INTERNATIONAL - 1YR (12 issues) US$40 (incl. postage)
To order the past issues, please call +65 6474 1462 or email, subscribe@thepocketartsguide.com DETAILS / MAILING ADDRESS

Recycle. Pass THE POCKET ARTS GUIDE forward.

NAME ADDRESS

THE POCKET ARTS GUIDE PTE LTD (TPAG) 43 Jalan Merah Saga, #03-62, Work Loft @ Chip Bee, Singapore 278115 All advertising bookings and materials for TPAG should be received by 21th each month. Printed in Singapore by KWF Printing. Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 2010-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches. The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.

ZIP CODE

COUNTRY / CITY EMAIL CONTACT NO: PAYMENT CHEQUE / BANK CHEQUE NO. PLEASE MAKE CHEQUE PAYABLE TO THE POCKET ARTS GUIDE PTE LTD PLEASE RETURN THE COMPLETED FORM AND PAYMENT TO: THE POCKET ARTS GUIDE PTE LTD, 43 JALAN MERAH SAGA, #03-62, WORK LOFT @ CHIP BEE, SINGAPORE 278115 FOR TELEGRAPHIC TRANSFER: A/C NAME: THE POCKET ARTS GUIDE PTD LTD BANK NAME: OCBC BANK BANK A/C NO: 629 350505 001 SWIFT CODE: OCBCSGSG BANK ADD: 249 HOLLAND AVE SINGAPORE 278980
STANDARD CONDITIONS ON ALL SUBSCRIPTIONS: 1. Subscriptions are non-refundable from the time of payment. 2. We are not liable for postal and other delays in delivery. 3.Special offers are subject to sponsors terms & conditions. 4. Subscriptions are sent by post as early as possible but TPAG are not liable for delays beyond their control. 5. Please allow 4 weeks for your first issue to arrive. 6. Generally, if we receive your payment on or before 18th of the month your subscription will start on 1st of the month following. After the 18th, subscriptions will start on 1st of the second month following. 7. Discounts for specific credit cards cannot be used in conjunction with other offers.

57

TPAG Art Tours: Hong Kong

10

4 5 11 2 78 9 6

12
will launch TPAG Art Tours. This brings art lovers from around the world toHong Kongs art scenes, art exhibitions, events and activities. Participating galleries, artists, companies and organisations have a chance to showcase their venue and artists.
58 TPAG | Jan 201 2

5 1
Simone Boons Studio Unit17, 9/F, block B, Wah Luen Industrial Centre, 15-21 Wong Chuk Yeung Street, Fotan, NT. 15-21 B917 www.simoneboon.com Y info@simoneboon.com v 852-60120363

Hong Kong Cultural Centre 10 Salisbury Road, Tsim Sha Tsui, KLN 10 www.icsd.gov.hk/CE/ CulturalService/HKCC v 852-27342009

6 7 8

Hong Kong Arts Centre 2 Harbour Road, Wan Chai, HK 2 www.hkac.org.hk v 852-25820200 Fringe Club 2 Lower Albert Road, central, HK 2 www.hkfringeclub.com v 852-25217251 Flagstaff House Museum of Tea Ware 10 Cotton Tree Drive, Central, HK 10 www.lcsd.gov.hk/CE/Museum/ v 852-28690690

11

Puerta Roja Shop A, G/F Wai Yue Building, 15-17 New Street, Sheung Wan, Hong Kong 15 - 17 A email : info@puerta-roja.com www.puera-roja.com Telephone: (852) 9729 1773

Blue City by A. Eugene Kohn, 30.5 x 23 cm

Belgravia Gallery, Hong Kong 19th Floor, Silver Fortune Plaza 1 Wellington Street, Central 1 19 www.belgraviagallery.com Y cailin@belgraviagallery.com v 852 -9222 7315 Viewings by appointment only.

Swire Island East 18 Westlands Road, Island East, Hong Kong 18 www.swireproperties.com v 852- 28445095

12

3 4

10

Hong Kong Heritage Museum 1 Man Lam Road, Shatin, NT 1 www.heritagemuseum.gov.hk v 852-21808188 Hong Kong Museum of Art 10 Salisbury Road, Tsim Sha Tsui, KLN 1 0 www. hk.art.museum v 852-27210116

Jockey Club Creative Arts Centre 30 Pak Tin Street, Shek Kip Mei, KLN, HK 3 0 www.hku.edu.hk/jccac v 852-23531311

Gaffer Ltd 6-8 17th floor Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong 7 17 6 - 8 www.gaffer.com. hk jules@gaffer.com.hk Telephone: (852) 2521 1770

Please join us and email to remo@thepocketartsguide.com to sign up the Hong Kong Art Tours.
59

TPAG classifieds
LotusAdv2011B.pdf 8/9/11 18:19:12
C M Y

Artwork Exhibition space Art lessons Art materials

CM

MY

This space is for sale

CY

CMY

Chew Kia Hais Watercolour Painting Exhibition

This space is for sale

Official Opening: 3 pm, 7 Jan 2012, Saturday. Exhibition dates: 717 Jan 2012, 11.00am 6.30pm. 19 Tanglin Road #02-07 Tanglin Shopping Centre Singapore 247909. Tel: (65) 6733 0289 www.zijuanyy.com Email: zijianart@hotmail.com

This space is for sale

This space is for sale

Our ad space offers an affordable way for artists to showcase their work. It is also a marketplace for anything that can facilitate the art world. For more information, email: sales@thepocketartsguide.com.
60 TPAG | Jan 201 2